Jersey Beat | United By...James Damion

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.

Illiterates – Does Not Compute (Sorry State Records)

Hearing the name Sorry State Records for the first time in maybe ten years sent legit chills up my spine. The Raleigh brick and mortar record store and record label caters to all the punk, hardcore, and weirdo bands the rest of the world ignores. The label inspired and fueled my early blog, United By Rocket Science. Sorry State introduced me to future favorite bands such as Deep Sleep and Double Negative while filling my record collection with many obscure, yet satisfying gems.

Inspired by the Illiterates' 2023 LP No Experts, I sought out Does Not Compute and felt my ancient punk rock influences drawing me to the band’s raw and simple core: Great songs in a short time. Best recommended for punks who love a raucous style and possess a rather short attention span. Does Not Compute is a combustible, fiery powder keg from start to finish and recommended if you’re a fan of raw and dangerous punk that tells it like it is, with a short, to-the-point barrage of music and lyrics. The Illiterates deliver a mix of early punk and 90's hardcore without the fashion and macho bullshit. Among the dozen tracks here on Does Not Compute, I found many of my favorites (such as “Hig Champions”) diving further into a mix of extreme music. I highly recommend checking out Illiterates and giving Sorry State Records a deep dive.

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.

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

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.

Outer World – "Coming Down" Flexi-Single (outerworldmusic.bandcamp.com

Set your ray guns to stun and switch your mode of transportation to warp speed as Richmond’s Outer World delivers a two-song flexi single worth further exploration of our planet. With elements of 60's psychedelia and French ye’ye’ pop mixed with loosely designed freakbeat and other eccentricities almost solely usually reserved for artists like Bjork, Outer World is in a class of their own. Following their soaring February 2024 debut “What Does the Music Love?”, it should go without saying that Tracy Wilson and Kenneth Close make for an exceptional songwriting team. The Outer World lineup is filled out by Erin O'hare on bass, Keith Renna on drums, and Nate Rubin on guitar, synth, & percussion.f

The aggressive and spacey “Coming Down” is all-around groovy. In listening, I can’t help but envision it being performed on one of those 1960's variety shows, surrounded by an audience that is dancing in the latest Paris couture. It’s really far out. Meanwhile, the more subdued “Superior Washing Results” highlights Wilson’s dreamy vocals, making for a diverse mix of sounds that delights the soul. Available on 1-sided 7" translucent red flexi disc with a limited printed outer envelope with 3x4" magnet illustrated by Josie Cooke and limited to 100 copies. Also, available as a digital download.

Jon Snodgrass + Buddies – Stoked Ghost (Rad Girlfriend; radgirlfriendrecords.bandcamp.com)

On these telling 13 songs, singer/Songwriter Jon Snodgrass (Drag the River) reveals himself as somewhat of a troubadour. Or at the very least, someone who traveled down that road and back again. (Holy shit, did I unintentionally quote the Golden Girls theme song?) Noticeable on “Stoked Ghost” are the marked country- and folk-leaning approaches to songwriting. His vocal style, though not my thing, makes me feel the honest, laid-back merits of his storytelling. The term “+ Buddies” should not be overlooked, as contributors include Bill Stevenson and Stephen Egerton of the Descendents, Chris Cresswell from Hot Water Music and The Flatliners, and Lucy Ramone. While my taste in music rarely takes me down this road, I’m happy to have taken the rare detour.

Prevail – “Prevail” EP (prevailhc.bandcamp.com)

Let’s get down to brass tacks. All things brought back to life by the art of re-issuing are not created equally or worthy of our time and money. Fully realizing that every nugget of the past will be remastered, remixed, repackaged, and re-issued during this lifetime, by all means we should prepare ourselves for a shitstorm of deep dives into music’s questionable past. This fact comes to mind when I listen to the vaguely familiar Myrtle Beach act Prevail, Screamo Punk that warms the heart like a three-year-old’s temper tantrum in the beer aisle at the local grocery store. “Clean up on aisle 8.” Hearing this 6-song EP for maybe the first time made me thankful for the fact that this wasn’t a long player. We all have our forms of releasing angst and receiving pain. But this is bad. I mean, irreversibly bad. The bad that causes trauma and sends you to a therapist. So, don’t go there. Stay in the present and limit your visits to past mistakes. The EP is being brought to life on a cassette of all things. Accordingly, the dead medium is making a comeback. Be prepared.

None Shall Sleep – A Slow. Steady Decline… (noneshallsleep.bandcamp.com)

With each day that goes by, I’m reminded that the blue-collar, heart-on-your-sleeve mindset of punk might have grayed, but it’s also never diminished. Grounded in roots that go back to the Reagan era, None Shall Sleep recalls long-time friends and bandmates who shared time in Dog Tired, The Fiendz, and The Bitters. Mark, Guy, James, and John tackle apocalyptic themes and blue-collar punk in what is an impressive nine-song ripper. Blistering vocals lead to an angry charge of fiery guitars and rhythmic bombast, making for a collection of songs that construct an idyllic identity with the listener, delivering an identifiable boost that might not promise a joyous future but is never shy of telling it like it is. As the times demand a return to working man struggles and values, None Shall Sleep echoes that grizzled punk-rock ethos that once resonated with bands like The Ruts and Stiff Little Fingers. Favorite tracks include “Another Day (Pissed Away)” and “Common Ground.” At the end of the day. I’m always glad to hear music from people who seem as pissed off as I am.

Detention – Dead Rock ‘N Rollers (re-issue)(www.leftfordeadrecords.com)

Credited as the first New Jersey Hardcore band, this reissue of Detention's Dead Rock N’ Rollers” marks more than 40 years since it circulated as the band's 1983 debut release on Rigor Mortis Records. Going in, I admit to not expecting much, and while this is a rudimentary recording, it’s a fun go-through that has its share of positives. If you enjoy the raw power of early American hardcore and want to explore your New Jersey roots, I wholeheartedly recommend checking in with Dead Rock ‘N Rollers.” The reissue, which will be released on Halloween, features the original 7-inch ep and seven additional songs.

NYX NEGATIV - Kalrshamns Punks 1981-1984 (Konflik Records; blackkonflik.bandcamp.com)

The habit of labels looking to unearth many, any, and all early punk archives has created an endless rabbit hole of under-recorded and under-appreciated punk and hardcore acts from the early days, allowing countless labels to dig up and dish out less-than-worthy and unlistenable artifacts from the distant past. Sweden’s NYX Negative is a brutal reminder of such, as many recordings are best left lost or forgotten. NYX Negative was a d-beat punk band that, while sounding awful, would find commonality with acts such as Discharge, Heresy, and Conflict, all while possibly treading water with some early Thrash acts.

Kalrshamns Punks 1981-1984 takes songs from the compilation Rockslaget” V.A. (1982), Live 1983, as well as an unreleased track. Regardless of those influences mentioned earlier, NYX Negative and Kalrshamns Punks 1981-1984 are awful sounding and unlistenable, deserving instant banishment to the circular file. In case you wish to experience the pain and suffering for yourself. Kalrshamns Punks 1981-1984 is available on CD and Bandcamp download.

Falling Forward - Let These Days Pass: The Complete Anthology 1991-1995 (Temporary Residence LTD; fallingforward.bandcamp.com)

In a crowded world of reissues and complete anthology collections,i’s getting harder and harder to decide what’s worthy of your attention and money and what’s not. For me, it often comes down to familiarity and curiosity, as in the case of the Kentucky hardcore band Falling Forward. Both of those characteristics drew me in. However, releasing only several 7-inches, (one an acoustic split with Louisville’s Metroshifter,) and one full-length (Hand Me Down on Initial Records,) “Let ,These Days Pass” reminds me of an exceptional band that took hardcore and newish metal influential components and matched them with passionate, reflective vocals and lyrics. The package I received features their sole album, the music featured on their singles, and a booklet featuring the band’s history, photos, and a gallery of flyers documenting the band’s time together. For fans of 90s hardcore and curious minds everywhere.

Cheap Cassettes – They’ll Never Forgive You For Pop (Rum Bar Records; rumbarrecords.bandcamp.com)

Having followed Seattle’s Cheap Cassettes since my days as a resident of the Emerald City, my curiosity over whether this under-the-radar/left-of-the-dial band would ever break big or fall to pieces due to a less-than-praise-worthy releases remained unanswered. Luckily, neither has happened, and I find myself shifting my focus to whether They’ll Never Forgive You for Pop is the band’s best release since their 2014 debut, All Anxious, All The Time.” The band’s recent release is quite good, featuring a satisfying mix of relatable songs and lyrics. The healthy mix of rock and roll, pop punk, and guitar rock keep the listener’s attention while having a knack for storytelling that gives the album an identity that rewards its riffs, rhythms, and vocals with a life of their own. Overall, a band and an album worth your attention.

Karate – Complete Recordings (Numero Group)

With recent news of the band Karate recording their first new material in ten years, I decided to address my wish list by investing in Numero Group's “Complete Recordings” box set to catch up (and possibly connect) with the group during the countdown to the band’s October release. Formed in Boston, Massachusetts, in 1993 and gaining ground in 1995 upon releasing their self-titled debut on Southern Records, Karate’s influences and sounds were inspired by genres such as indie rock, post-punk, jazz, and emo. When looking for artists who might have contributed to their sound, think of the Minutemen.

Admittedly and embarrassedly, I completely missed the bus on the shift-shaping entity. Thanks to a ten-or-so-year-old interview with New Jersey’s Cicada Radio, Karate became a past act I needed to look into. I became enamored with Karate’s sound upon adding some of their discs to my collection. My fandom, however, reached new peaks when I picked up Numero Group’s “Complete Recordings.” The CD version features seven CDs and an expansive CD-sized book housed in a thick case. “Complete Recordings” more than fulfills its intention to honor a great yet possibly overlooked band. It also serves as a thorough introduction to those who might have overlooked them the firnt time around. As usual, and worth praise, Numero Group elevates each release to an art form, Never missing out on the most microscopic details or specifications. In closing, ask yourself, Is there anything more rewarding than having the complete recordings of a beloved act or artist? If the answer is “yes,” you might need to examine your geekdom. (The Complete Recordings is available at numerogroup.com. For other Karate releases, visit karateallston.bandcamp.com.

Kill Holiday – Seasonal (Indecision Records; killholiday.bandcamp.com)

While San Diego’s Kill Holiday is rarely mentioned in the same breath as 90's post-core acts such as Quicksand, Burn, Shelter, and Into Another, there’s no reason to dismiss their impact and influence on the sound and effect of their legacy. Formed in 1994 by Steven Andrew Miller (Unbroken,) Robert Moran (Unbroken,) Barry Kellman (Amenity/House Of Suffering,) and Oscar Paz (Statement, Impel,) the band quickly created a sound that avoided many of the accepted norms of post-core. That gave them a sound that echoed both current practitioners of the genre as well as that of 80's stand out acts such as Ride and the Smiths.

Through several EPs and the impactful 1999 Revelation Records LP, “Somewhere Between the Wrong is Right,” Kill Holiday carved a path filled with chord progressions, infectious grooves, and thoughtful lyrics. “Seasonal” revisits a band whose music has aged well, standing the test of time and avoiding the traps often left by past music trends. It’s been a long time, but recalling how fresh this sounded and how they stood out from the pack back in the day, Kill Holiday remains a must-hear band.

Despite the rather harsh name, Kill Holiday represented the league of hardcore-minded bands who escaped the metalcore or screamo approach, writing and recording songs that inspired both admiration and close attention. Instead of going for the traditional repressing of their lone album, “Seasonal” collects many of those songs with due respect. I highly recommend ordering a physical copy, as the Indecision Records CD and vinyl also include a digital download (a practice that should be automatic but often isn't.) While it’s challenging to choose a favorite track from such a deep source, the collection’s opener, “Monitor Dependency,” is just so over-the-top satisfying and tells what the listener what they're about to experience. High praise to everyone involved.

The Fastbacks – “For WHAT Reason!” (No Three Records; fastbacks.bandcamp.com)

Marking their first record in 25 years, The Fastback’s “For WHAT Reason!” is a confident triumph in its song structure, recording, and notable rapport between its members. Initially formed in 1979 at the forefront of American Punk, the Seattle band would influence many other bands, musicians, and artists mainly by being good people and doing it their way.

Reviewing one of arguably the most anticipated “Where the hell have you been?” albums in rock history is daunting. The “For WHAT Reason?” lineup includes founding members Kurt Bloch, Kim Warnick, Lulu Gargiulo, and longtime drummer Michael Musburger. The cast returns without missing a beat or at the cost of any chemistry its members shared over the years. As someone who reminisced about my time in Seattle in a recent review of the reissue of 1985’s “Okay.” musically reuniting with The Fastbacks was quite a reward. Personally, the album's jangle punk aesthetic had me wondering, what if punks highjacked Hannah-Barbera’s studios? Where would we all be today if the Fastbacks had their own Saturday morning cartoon?

“For What Reason” raises the bar. “The End of the Day” starts things off brightly, insuring the listener is in for a warm and rewarding experience. By the second offering, the upbeat and warm “Come On,” the listener is reminded of the fantastic journey the Fastbacks always lead us on. Early on, I couldn’t help think of how much these Seattle punk pioneers influenced acts such as The Muffs. “Nothing to do Today” adds gasoline to an already bright fire, bringing to mind the kinetic energy of earlier pop and power punk. Each track brings a certain joy and warmth. It’s nearly impossible to note favorites. Considering that, from start to finish, each song on “For WHAT Reason” feels worthy of praise and absolute joy, displaying what an essential act The Fastbacks were and still are.

The folks at Big Neck Records were nice enough to send us some of their new releases on vinyl. You can order the vinyl as well as download or stream these releases at https://bigneckrecords1.bandcamp.com.

Nervous Tick and the Zipper Lips - The Monochromatic Mind of (Big Neck Records)

A bit of herky-jerky, anxiety-inspired sound that I wasn't sure what to make of. Think garage rock with an extra dose of manic edginess. Shouted vocals supported by Sixties-inspired garage rock that grows on the listener as it jumps from song to song. “I Wanna Be Bad" fucks with the knobs, creating a complete fuzz masterpiece. The follow-up, “Scrib-Dobbin," is another favorite that raises the manic energy of the album. If you're a fan of eccentric garage rock or want to try something different, check this one out.

Silicon Heartbeat - "New Sounds in Horror" 7-inch (Big Neck Records)

Presented in an old-school 45 RPM packaging that cranks up the nostalgic me, this is a record for all you monsters and fans of raw horror punk with a science fiction edge. Michigan's Silicon Hamilton's “New Sounds in Horror" offers five songs of rip-your-face punk-rock that has a raw appeal and wears a Michigan vibe like a worn-in motorcycle jacket. Featuring way-out musicianship and a vocal approach that might remind you of Cramps singer Lux Interior. Brian, Greg, Lisa, and Matt do a great job on this.

The Shitdels - Where's Your Head? (Mono) (Big Neck Records)

While the name you choose for your band might set the tone for the expectations a listener might have for your music, many decades of rock history have proven otherwise. Nashville, Tennessee's garage rock trio The Shitdels blow that theory straight out of the water with what is a toilet-worthy, shitty album. Criminally inadequate production and recording plague a project that could have been (who knows) better. A tin can produces an overall better sound sound. Arguably, this is the worst vocal mix I've ever heard. I can honestly say The Shitdels sound like a not-ready-for-prime-time band hastily booked for the local high school's sock hop.

MK Ultras - S/T (Big Neck Records)

Raw and sinister Mid-West punk rock packed with everything youÃ¢â‚¬â„¢d expect from an authentic punk rock outfit and loaded with mid to fast-paced nihilism. Unfortunately, though, as a lifetime follower of punk rock, there seems to be a lack of any original qualities to set them apart from the countless other bands that have produced the same exact sound. Cool if you want to add another punk record to your pile of punk. It's not so cool if you want something that stands out. On a side note, the naked woman image on the cover is atrocious.

Autobauns - First LP (Big Neck Records)

After a short run cassette and a well-received split 7-inch with Switzerland's S.G.A.T.V., the Swiss/German Autobahns embark on releasing their debut LP, cleverly entitled “First LP."" The Autobahns are not to be confused with the famed road, the 1979 Kraftwerk song, or the Leeds act Autobaun. The lesser-known Autobauns are hampered by the aforementioned factors and a sound that never seems to be fully established. Autobauns' debut album flew by without ever making its presence known. Parts noise, parts electronic, parts experimental. I didn't know what to make of it. The child-like album art only adds to the suckage that might turn away any curious buys.

Harvest – Transitions (Trustkill Records; trustkill.bandcamp.com)

Initially released in the late summer of 1998 by New Jersey’s Trustkill Records, “Transitions” is by Minnesota’s metalcore act Harvest. While being described as "pioneers of metalcore" could be considered an awful insult, the narrative is meant with deep respect. I rarely vibed with amalgamation. The 2024 remaster of 1998's “Transitions” is well done, from the quality of the remaster itself to the artwork, lyrics, credits booklet, and additional songs. However, I wasn’t a fan of Metalcore then and the comprehensive embodiment of its overall sound. This is an excellent package that will satisfy any, if not all, fans of the sub-sub gene; i.e. for fans of Terror, Eighteen Visions, and Walls of Jericho.

Unbroken – Life, Love, Regret (Indecision; unbroken.bandcamp.com)

I never imagined we’d be celebrating 90's hardcore in the three decades since, yet here we are revisiting and praising what seems like every record released under the hardcore banner. San Diego’s Unbroken stands out for me as THE early 90's outfit that wrote songs that, regardless of their metallic sound, offered emotional lyrics and deeply impassioned music. “Life, Love, and Regret” would be their second and last album. Both of these were released by the powerhouse label New Age Records. As I listen to the original nine songs and the additional live tracks on the second LP, I feel a renewed respect for the band and this album. It’s rewarding and rare when music ages as well as this album. The 30th-anniversary reissue is a one-time, deluxe pressing that includes a bonus 12" containing their full live set from their performance at Indecision 30 in 2023. This version will not be pressed again (so they say)in a limited edition of 500 copies. Whether you missed its initial release or your original copy needs a replacement, I highly recommend it.

Roxy 2 – Roxy (roxy2.bandcamp.com)

It’s always a pleasure knowing an act you’re just discovering yourself is located within a stone's throw of wherever you call home. In the case of Baltimore-based Roxy 2, I’m already checking their calendar for upcoming events. The opening song, “Silo,” has a haunting feel and texture that introduced me to the band’s atmospheric sound and reminder of great shoegaze acts such as My Bloody Valentine, Ride, and Slow Dive. The following entry, “Elfbar,” raises the bar as atmospheric heights are considered. Not to mention its sonic guitars and their rising presence. The melancholic keys on “Two Swords” provided a subtle chill to my summery day. There’s a point where Roxy 2 enters territory that brings lost greats such as Nick Drake and Elliot Smith to mind. A slow churn is worth slowing down and taking in its entirety. Roxy 2 ranks high in my “Best of 2024” list. I look forward to seeing them live and looking back at their previous work.

Touché Amore - Is Survived By:Revived (Deathwish Inc.; toucheamore.bandcamp.com)

Marking the tenth-anniversary release of Touché Amore’s 3rd album, “Is Survived By,” Deathwish Inc. has given an incredible album the remix, remaster, repackage, and reissue treatment. As a dedicated follower of the Los Angeles Post-Core band, one whose hearing might have taken a hit or two over the years, I could have done without the tinkering.

Ten years later, “Is Survived By” is worth a front-to-back experience, respectively known and labeled correctly as post-hardcore. Touché Amore has consistently received praise from its hardcore fans while having gatekeepers of the post-core bow in acceptance, without damning Touché Amore, Deathwish Inc., or the countless labels that indulge in the practice of remixing, remastering, repackaging, and re-issuing. I am no longer, if ever, a supporter of tinkering with original recordings. But rant or not, “Is Survived By” is a fantastic album that holds up incredibly ten years later while benefitting from the reworking.

With all due respect, however, to the bands and labels who have turned the process into a neverending cycle of tweaking old recordings and perhaps profiting from the action, it just feels overdone. Being an aging hardcore adult, I come from an era where chasing down rare records and not-so-perfect recordings was fun and challenging. Trust me, there is nothing punk about turning on the computer and having everything you ever wanted be available by doing a Google search. I miss the dig and the actual search. I may never have all the records on my list, and that’s fine. While the work done here might have fixed whatever imperfections the album featured, I’ll be OK with my original copy.

Speed – Only One Mode (Flatspotrecords.bandcamp.com)

It’s never good when you struggle to make it to the half-point of the record before giving up all hope on a band and what they have to offer... or worse, steal from you. Previous ventures into Speeds’ sound and style left me empty. Time and the hope of growth led me to dip my toes into the band’s latest attempt at relevance. Unfortunately, though, “Only One Mode” is the decisive nail in the coffin needed to seal their fate. Featuring ten songs whose sound and themes feature nothing unique, notable, or worth mentioning. Sadly, Australia’s Speed sounds more like a thugcore tribute band than anything organic or original. If you’re a fan of Speed’s key influences - Madball, Biohazard, or Trapped Under Ice - I’d suggest listening to them instead.

Unwound – 1991–2091 (Numero Group)

Now that you’ve collected every Unwound recording, known and unknown, you can prepare for the inevitable and deserving rockumentary movie that’s sure to follow by checking out this beautiful cloth-bound book. Much like any Numero Group project, the book itself is put together and presented with meticulous quality and detail, 252 clothbound pages with over 100 images, flyers, and anecdotes from band members and people who witnessed or were a part of the band's history, making the band’s 20+ year absence seem like mere months. Despite the grainy and mediocre quality of many of the images, the finishing product and build of the book are excellent. The personal entries give insight into the band, its members, and their personalities. The flyers bring the shows and memories back to life, even warranting the hefty $75 price. With a 2,000 count first pressing and no guarantee of further pressings, I highly suggest making a move sooner rather than later.

Atom Driver – "Occupants" EP (atomdriver.bandcamp.com>

Whenever you encounter hard times or moments that might make your days seem darker than they might be, it’s important to know that music is always there waiting to pick you up. I’m reminded of that as I listen to this recent sampling from New Brunswick, New Jersey’s Atom Driver. Atom Driver has really outdone itself here with three songs, each of which leaves a lasting impression, forming a bonfire of energetic, celebratory anthems. With decades of proof the best bands known to us are formed out of the edgy cities and landscapes of the American interior. New Brunswick deserves to stand alongside the heavy hitters like Detroit, Chicago, and Boston. Location aside, with origins in bands such as Good Clean Fun, Deadguy, and others, the members' pedigrees all but guarantee authenticity. Through a mere three songs, Atom Driver leaves a lasting impression with a bonfire of energetic and edgy anthems worth singing along to with your fists in the air and your heart pumping as if it’s just run a marathon. As someone who’s been hit with some hard times of late, this EP was the perfect cocktail to bring me back to my old cantankerous self. I can only hope the future brings a full Atom Driver LP or at least more singles by the band.

Bedmaker – S/T (Dischord Records)

Featuring bassist Arthur Noll (Light Beams, Kid Congo Powers,) drummer Vin Novara (The Crownhate Ruin, 1.6 Band,) guitarist Jeff Barsky (Insect Factory, Time Is Fire), and rounded out by the unforgettable vocals of Amanda McKaye (Desiderata, The Routineers,) Bedmaker represents yet another reason to reconnect with Punk Rock’s past and watch its greying members show us the way. As a follower of each member’s past conquests, I headed into Bedmakers’ debut album with high anticipation and joy. It was quite recently that I was reminded by a friend of the time we caught Desiderata at CBGB’s and the lasting impression it left us with. MacKaye’s voice has always had the strength and resilience necessary to convey the emotions of the lyrics, and there are few accurate comparisons to make. On the musician side of things, I’d call upon Bikini Kill’s Kathleen Hannah as one that mirrors this band's strength and tenacity instead of mere styling. Howling vocals and wandering instrumentations show a clever sense of rhythm and syncopation, leading to a thoroughly experimental album. As it progresses, one can feel like they’re immersed in a spiritual jam session. The self-titled debut grows on you rather than making an immediate hit, thus making the album more of an enduring partner than a love at first listen.

Matt Hunter & the Dusty Fates – Reindeer Soul (DromedaryRecords.bandcamp.com)

It’s always a pleasure getting news of a new Dromedary Records release, being that Al Crisafulli (the label’s founder) is responsible for turning me on to countless bands that educated and informed my ears regarding the joy of a great power-pop hook. Looking back, it’s hard to imagine my time in the Garden State without the rewards of countless bands, artists, and records Al sent me. Though not the least familiar with Matt Hunter, a little background check granted a deep dive into the talent and accomplishments of a New York City talent whose many gifts are yet to be fully realized. “Reindeer Souls” might not have immediately impacted me but after the second and third go through, Hunter’s words and voice put their hooks in me. On “Reindeer Soul,” Hunter's deep and textured voice perfectly navigates each song while musicians Murdock, Öhman-Frölund, and Hunter create the perfect backdrop. While enjoying the album and taking in the depth of each song, I was suddenly hit with the lyrics to "Franz:" “I hear the tap, tap, tap” within,” and I found myself questioning, “Are these the words that will forever haunt me?” Thanks again to Dromedary’s boss of bosses, Al Crisafulli, for always giving me something I might not look for on my own journey. The man is a true tastemaker.

Drought – EP (droughtdoom.bandcamp.com)

This Oakland, CA post-core band makes quite a mark with a well-rounded EP that features three songs, “Consequential Love,” “Oh, Javelina!” and “MacArthur Station” that explore a wide range of sounds and styles, including and mainly screamo. Comprised of vocalist Viggy Ram (Plush Palace, ex-Untrust Us), drummer Ray Avila, bassist Dev Bleyle (Obsolete Man, Failed Earth), and guitarists Eric Nakano (ex-Caulfield) and RJ Rabe, the Oakland quintet formed in 2022. "Drought" leaves an impressive footprint with heartfelt and honest lyrics that reflect real-life scenarios. Musically, it reminds me of past bands such as Thursday and Taking Back Sunday. Whatever day it is, Ram’s vocals are some of the best I’ve heard in quite a while. He seems the perfect vehicle to drive these songs home with a tempo and rhythm that guides each song and that on this self-titled Ep. One can only hope an LP is in the making. Quite possibly, this is the biggest and best surprise this year has delivered.

King Face – S/T (atomicactionrecords.bandcamp.com)

Upon hearing that 80's favorite King Face was not only active but had recorded nine new songs for a self-titled release, I caught myself attempting cartwheels. Mark Sullivan’s singing voice has aged well. The album opens with “Not Pretty Anymore,” a song highlighting Sullivan’s uniquely powerful vocal ability while reestablishing the drive and raw power of the band’s leads and rhythms. The following track, “Starvation Food,” ups the ante with its driving guitar parts and pounding rhythms. The lyrics “I hear a voice inside my head, that mother-fucker wants me dead” couldn’t have hit closer to home if they tried. “Bad Mood” follows with a similar impact. The words “Don’t know where I’d be without this bad fucking mood” feel as if they were personally addressed to me. All throughout this victorious return are reminders of how impactful King Face's words and delivery always were and how they set them apart from other bands who were worthy of our admiration. In the end, I felt as if this was an unexpected gift.

Disarm - "Existence Demo 1985" EP (Beach Impediment Records)

You have to hand it to Beach Impediment Record's dedication to bring attention and life to old and mostly forgotten recordings of Virginia’s ‘80s punk and hardcore acts. As an observer, fan, and person who got into the hardcore punk scene in the middle of the decade, I’ve come to both appreciate and resent the practice. My appreciation coming from represses and first pressings of records and demos I loved at the time. My resentment is fueled by the almost constant resurgence of material unworthy of our attention or money. Disarms’ “Existence” demo easily falls under the latter, featuring 12 songs of thrash metal-tinged hardcore with various influences whose mention might misrepresent and warp the bands’importance or impact. In listening to these songs on Bandcamp, I had no interest in investing the time, money, or space to grab a copy. Not the least impressive or interesting, Beach Impediment has limited this release to a one-time only 500 copies.

SIKM – Now I Must Comply (Beach Impediment Records)

Heading into or toward a review, it’s never wise to pre-judge an artist or their music. It happens, though. I admit it. A band or record title, the album’s art... These and many other things can close the mind and lead you down a negative train of thought. In the case of “Now I Must Comply” by Atlanta, Georgia’s SIKM, such was the case. Best described as street punk or Oi, comprised of DINOS BOYS and HEARTATTACKS alumni, these six bruisers, each of which barely makes it to the two-and-a-half minute mark, remind me of past acts such as The Ruts, Sham 69, and The Business. Not bad if you can get past the pro-violence, right-wing idealism.

Red Cross – 1981–1982 No Message (Beach Impediment Records)

With my interest in digging up ancient, undocumented punk and hardcore bands waning, my ears and credit card have become more choosy about what ends up in my ever-expanding record collection or computer hard drive. Not to be confused with California’s iconic Redd Kross, Richmond, VA’s Red Cross was another punk rock animal whose sound and delivery hinged on a raw and chaotic sound that felt like it would unravel at any moment. (Think guttural sneers supported by a D-beat sound perfectly fit into that early ‘80s American Punk Sound.) Noting that many early punk acts had little music training to fall back on, I sense a heavy Germs influence that might explain my aforementioned description. “No Message” perfectly captures when our country's punk scene moved towards a heavier, louder, and faster style and eventually adhered to New York City’s Stimulators “Loud, Fast, Rules” ethos, the sound that would quickly be known as hardcore. Featuring 14 songs, any and all punk rock archivists should fight to secure this. “No Message” is more than worth its meager price. 100 copies on RED VINYL are available for mail-order, including a risograph recreation of the poster that came with the original cassette tape! I would say more, but for now I highly recommend you check this out.

Carnage Asada – Head on a Platter (carnageasada.net)

While the name Carnage Asada is new to me, the band has a rich history that goes back to friendships made within the punk and hardcore scenes of the ‘80s. In the end, I enjoyed this a lot more than I expected. I am being reminded not to judge a book by its cover. Musically funky with musicianship that reminds me of the weirdness of Voodoo Glow Skulls and Butthole Surfers, frontman George Murillo’s vocal style is more spoken word than anything else. Releasing lyrics with a storytelling appeal in that they seem to come from real-life experience, the band’s story is long and interesting. Yet, as far as the music and the album itself, I feel lucky to have come upon such a diverse yet centered recording.

Trail of Lies – Only the Strong (Triple B – Records)

Having reveled in the energy and power of their prior album, 2018’s “W.A.R.,” I was eager to see any evolution the Syracuse straightedge band had gone through in the years. Trail of Lies follows in the camp of hard-hitting bands from Syracuse, delivering the Straight-edge message with a hateful sermon. “Stand For Change,” the album's sixth entry and a personal favorite, features Pat Flynn of Boston’s Fiddlehead. The thunderous guitars from JD and Tom and the rhythms from Tom and Chris are quite satisfying. Also, note the album’s many breaks and breakdowns and lion roar vocals from Tom. While looking for new stories to tell about the new album might leave you empty-handed, this is a good album that shows Trail of Lies is still on top of things. Available in several color vinyl variations and CDs. For fans of Earth Crisis, Doughnuts (the band, not the snack,) and Snapcase.

Exorbitant Prices Must Diminish – For a Limited Tim (lixiviatrecords.bandcamp.com/)

Please excuse my limited knowledge and exposure regarding heavy metal's bastard son, grindcore. Concerning Ugo at Lixiviat Records, I am reminded of a recent interview Donald Trump agreed to with the National Association of Black Journalists. The simple term “Know your audience” could apply here. Switzerland’s E.P.M.D. (not the classic rap duo) have been together for nine years and feature members of numerous bands of the grindcore scene. This, unfortunately, is the end of what I would consider constructive criticism. “For A Limited Tim” features 17 songs that each exemplify why grindcore is so hated and looked down on by many. It’s unfortunate when one views someone’s hard work as an absolute shit show. However, this is most likely the lowest my foray into music journalism will get. It's an absolute dumpster fire from start to finish.

Pariiah – Many Shall Fall (pariiah.bandcamp.com)

If you read my review of Pariiahs’ four-song debut, “Swallowed by Fog,” you’ll know how enamored by that under-the-radar doom-metal release I was. Pariiah’s six-song follow-up “Many Shall Fall” ups the ante, proving that small things often come in small packages. I’ll add that many things we cherish most often fly under the radar. The current lineup features Paul Andress (Mothman, The Nolan Gate, and a respected visual artist) and Adam Paterson (Books Lie, Change Order, and Jersey City Tattoo Co.) Perhaps most notable is Alexandria Nelson, who played with surf-rockers Coffin Daggers. Nelson’s performance on the Theremin, amongst other electronic instruments, might be a first in this subgenre of metal. The theremin, an electronic oscillator best known for its use in “Good Vibrations” and innumerable cheesy horror and scifi soundtracks. substitutes here for the bass, an instrument I find essential to any band performance. Each of the six entries on “Many Shall Fall” is exceptional and praiseworthy, featuring all of doom-metal’s signature heavy, thick, and sludgy elements; easily recognizable and not-so-recognizable movie samples add flavor to the recipe. Elements of the title song leave the most devastating mark. Overall, it is a record worth mentioning among greats such as Sleep, The Sword, and High on Fire.

Her Heads of Fire – Strange Desires (Iodine Records; herheadsonfire.bandcamp.com)

New York’s post-core indie rock band Her Head’s on Fire is worth investing maximum time in. First, there's their pedigree, with members known for past work in bands such as Small Brown Bike, The Bomb, Garrison, Saves the Day, and more. Then there is the simple fact that this is one hell of an album that experiments and captures one’s attention and manages to hold even the most easily distracted listener (me, for instance.)listener. On their third record and second full-length to date, Her Head’s On Fire is firing on all cylinders. The band continues to evolve and fortify a foundation built on solid song structure and a very diverse sound that bears down on you like a runaway subway car. Syd Jaggers voice was built on Rock's sincerity and ability to dig deep to deliver the goods. (His time fronting I Hate Our Freedom is noted and appreciated.) It’s also worth noting that any music venture that Chicago guitarist Jeff Dean touches or involves himself in becomes indie gold. With a selection of ten songs, it’s nearly impossible to put the spotlight on one, two, or even three favorites. Let’s just say that Strange Desires presents the growingly rare occasion where an album ranks a very authoritative "10.""

Ancient Domains – Set in Stone (ancientdomains.bandcamp.com)

New York’s Ancient Domains is a new rock outfit comprised of an impressive cast of New York Hardcore veterans, including John "BIV" Biviano and Rich Edsell of Supertouch fame on guitar and drums; Matt Warnke, former frontman of BOLD; and Jim Boehmer of High-Speed Chase on bass. Past endeavors aside, Ancient Domains carve a new path worthy of praise. Set in Stone features seven blasts of edgy rock, led by standout musicianship that highlights each member's skill set, led by Matts’ soulful, gritty vocals. Due to the past music endeavors of Jon, Rich, Matt, and Jim, Set in Stone might comfortably fall under the post-core umbrella. Yet, the music recorded here defies labels and genre categorizing. Favorite songs include but are not limited to “As Far As I’m Concerned,” the song that introduced me to Ancient Domains, one that highlights Matt Warnke’s deep, soulful baritone voice and brings to mind the great Greg Dulli of Afghan Whigs fame. The frenzied “Makes No Difference to Me” and the devilish “Set In Stone” are a must for fans of the Whigs, Rocket From the Crypt, and other like-minded debauchery.

Ribzy - '81-'85 Recordings (vinehellrecords.bandcamp.com)

'81 – '85 Recordings collects the recorded work of early 80’s San Jose punk band Ribzy, described as legendary and essential by Puke & Vomit Records. Hearing the band’s name for the first in 40 years and listening to what might be best described as less than pedestrian music, I would have to disagree categorically. Though featured on the essential punk compilations “Not So Quiet on the Western Front” (1982,) the "Growing Pains" tape comp (1983,) and "From The Valley Within" (1984). Little is known or mentioned about the band’s existence. Ribzy’s raw and bratty punk style may have been notable among its early '80's peers. However, forty or so years later, it’s perhaps best forgotten.

Elle King – Come Get Your Wife (RCA)

It’s not every day that I muse over a major label release, and it’s even rarer when that album falls under the country music umbrella. That said, my appreciation and fandom of singer-songwriter Elle King come from a deep appreciation of her reflective and painfully honest storyteller-inspired work. Her turbulent battles with substance abuse and ADHD issues are regularly explored in her songwriting. It’s no secret that her honest and often self-deprecating lyrics add an additional appeal to her songs. On King’s third album and first bonafide Country Music adventure, the honest, relatable songwriting continues to be a magnet to her musical path. Guilty pleasures noted: “Come Get Your Wife” is a front-row ticket to a train wreck. The album's first song, “Ohio,” and follow-up, “Before We Met,” read like diary entries and highlight King’s incredible vocal abilities. “Try Jesus” follows, guaranteeing this album's place as a landmark recording. “Drunk (and I Don’t Wanna Go Home) featuring Miranda Lambert, and the song “Lucky” add an upbeat aspect to the album despite their dark lyrics. Worth a Shot,” featuring Dierks Bentley, shines as a high-energy ode to broken relationships and alcohol. The album closer, “Love Go By,” raises both the bar and the roof, putting the spotlight on a vocal ability worth praise and admiration. How this song ended up at the end of the affair hurts the brain. My praise for this album goes on and on. Always sensing connections and influences, I can’t help but be reminded of Janis Joplin's honesty and openness. Hopefully, King will get her personal issues under control and find inspiration from being a new mother. While I don’t ever see myself becoming a fan of mainstream country, I’ll surely make exceptions for King’s work.

Maya Hawke – Chaos Angel (Mom & Pop Records; mayahawke.bandcamp.com)

Perhaps best known as an actor and the character Robin Buckley on the hit Netflix show “Stranger Things,” Hawke has also become a respected and celebrated folk singer/songwriter, inspiring many with her journey from acting to music. As someone who fell in love with her music through 2022’s celebrated Moss, I can’t help but be surprised how folk music in general has become a part of my listening regimen. So I eagerly awaited the May 31st release of the native New Yorkers’ third album. Being the daughter of Hollywood power couple Ethan Hawke and Uma Thurman might have brought claims of nepotism, but Hawkes' innate talent and work as an actor, singer/songwriter, and fashion model make her a legit triple threat. Needless to say, Hawke’s talent is without question.

Chaos Angel opens with the dreamy “Black Ice.” Hawke’s songwriting and wistful voice is captivating. Though her voice more than carries the message and intention of the song, one can’t help but feel an effortless nature in her vocals, perhaps serving as an ambassador for folk music’s strengths and purpose. As one who often rates each song of an album to mark for future visits, I found myself giving every song that followed the highest ranking. With that said. I feel the need to mention that “Black Ice,” “Better,” and “Big Idea” are personal favorites that will be revisited countless with an elevated sense of enjoyment and admiration. Chaos Angel scores a confident "10" and lacks any weak moments. I found it somewhat surprising that “Stranger Things” co-star Sadie Sink “Max” provides muck of the backing vocals. Recorded between Woodstock and New York City's legendary Electric Lady studios, Hawke’s New York City base gives Chaos Angel a close-to-home feeling that seals the deal. All in all, it is a flawless record that will surely bring you joy.

Ani DiFranco – Unprecedented Shit (Righteous Babe Records)

Dialing back to my adventurous 90’s phase and introduction to the folksters’ work, I decided to check out the legendary Ani DiFranco’s just-released “Unprecedented Shit.” Perhaps universally known for the earthshaking song “32 Flavors,” DiFranco has survived and thrived as an independent artist decades after the major-label contracts were being dangled in front of her like a carrot on a stick. Instead of signing on the dotted line, the singer, songwriter, guitarist, and poet has continued carving out a beloved and highly respected body of work. On her latest, “Unprecedented Shit,” the evolution of DiFranco’s arc continues. The moody “Spinning Room” opens the 11-song set with DiFranco’s unique voice and an instrument backing that sometimes seems off the mark. “Virus” follows, ensuring the listener that whatever might have seen a bit off is back on track. My favorite tracks include, but aren’t limited to, “You Forgot to Speak” and “The Thing at Hand.” Everything about “Unprecedented Shit” is top-notch. The lyrics, vocals, musicianship, and recording leave nothing to be desired. What I found most rewarding was that since her debut in 1990, DiFranco’s voice and songwriting style haven’t waned. She still stands as a unique example of independence and the power of pure artistry.

Redd Kross – Red Kross (In the Red Recordings)

Red Kross has been a staple of punk-inspired power-pop since 1980. It puzzles me why they are rarely mentioned in the same breath as Black Flag, with many highly regarded albums to look back on and a current banger to drool over. The question seems worthy of conversation, with my purchase of the monumental “Researching the Blues” just last week. It’s safe to say I’ve received noise complaints from my neighbors and wife alike. The newly released, self-titled album is an impressive one, one worth exploring and enjoying from cover to cover. “Candy Coloured Catastrophe,” the album's opener, invites you on the trip and punches your card to what is a fantastic album. The aggressive “Stunt Queen” follows with scorching guitars and a robust attention to storytelling. It reminded me of the iconic Australian band, The Hellacopters. “Good Times Propaganda Band” and “What’s in it For You?” are like a time machine to the '60s, reminding me of those epic performances on Shindig or whatever music-related TV show. When looking for an album that honors different vibes from different decades and styles of music, this is it. As I get older and, of course, wiser. I find myself taking in more and more of the McDonald brothers’ Redd Kross. By all means, you should too.

Deep Tunnel Project – Sweetest Balls (deeptunnelproject.bandcamp.com)

In my lifelong journey, I want to possess every record Chicago’s Jeff Dean has ever performed and produced. I found myself navigating through the debut album from Dean's latest project, Deep Tunnel Project. After deep diving into the singles “Elysian Fields” and “Connector,” I knew I was in for something different from Airstream Futures and All Eyes West, acts I adored and hoped would last forever. Deep Tunnel Project is a darker animal altogether. Aside from Dean, DTP features drummer Mike Greenless, whom you might remember from TAR, John Mohr, and many others, and Tim Midyett, perhaps best known for his time in the legendary Silkworm. Check out this fascinating interview with him here. DTP performs a form of rock and roll that, at least to my ears, experiments with darker layers. Think of a more guitar-driven Joy Division, bringing the past to the future with a sound that stands out while standing apart. Weird title and all, “Sweetest Balls” is on top of my list of best records of the passing year, maybe years.

Missing Link – Watch Me Bleed (Triple-B Records; bbbrecords.bandcamp.com)

Not to be dismissive or negative, but I knew exactly what I was in for within the first couple of notes from this New York hardcore act. Eleven songs of heavy concussion grenades featuring titanic leads and rhythms led by baritone vocals that sound like someone leaning over a public toilet regurgitating the toxic remains of a night out with his friends. Hard, sick, relentless beatdowns, sure. Any sense of ability beyond the scope of the active mosh pit at a hardcore matinee, not likely. I found this to be very one-dimensional and limited in its reach.

Firewalker – Hell Bent (Triple B Records; bbbrecords.bandcamp.com)

Firewalker's Hell Bent is a cacophony of incendiary instrumentations and unbearable vocals, creating a jarring listening experience. The diverse and interesting instrumentations are overshadowed by the vocals, which sound like they came from an evil Hobbit on the set of a straight-to-video 80's slasher flick. With song titles like “Devil’s Favorite Toy” and “Play Dead,” Hell Bent is a nightmare on any street. The album features nine songs, each more unbearable than the last, making it a record that worsens as it crawls from track to track.

SSD – Get it Away (Reissue) (Trust Records)

SSD's seminal "Get It Away" has been out of print since before you were born. I’m not as familiar with this release, the 7-song follow-up to the iconic 1982 debut, “The Kids Will Have Their Say.” 1983's “Get it Away,” originally released by X-claim Records, was the predecessor to the awful “How We Rock” and “Break it Up,” departures from the band's original sound that followed in '84 and '85. Seeing much-needed reissues of these Holy Frails of hardcore’s raw origins quickens the pulse. They stand apart from the endless cycle of revisiting, rerecording, repackaging, and re-issuing every indie release, known or unknown, deserving or not. Though not the timeless masterpiece of “The Kids Will Have Their Say,” the seven songs on “Get Away” continue to show SSD's strengths, from Barilles's songwriting to Springa’s screams. “Get it Away” still feels rooted in its urgent, life-or-death Boston grip; as the record progressed, I felt its hold tightening on me. So much so that I got the feeling “Get it Away,” possibly due to a time when we accepted little change from our heroes, was criminally overlooked. Remastered by Dave Gardner at 45 rpm to ensure further confusion on my part. (Available for pre-order now. Available for pre-order; release date July 19, 2024.)

Bad Idea – Breakout (badideampls.bandcamp.com)

It’s been a few years since I visited Minneapolis. Upon my return, I hoped to catch up with Bad Idea. On “Breakout,” Jon, Mike, Spencer, and Tim impress, creating thunderous, fast-paced rock 'n' roll that brings to mind Rocket From The Crypt. While I feel Bad Idea’s “Breakout” could have benefited from a full LP treatment, these six rippers had me thirsty for more. Available on red vinyl, it features an impressive black-and-white live photo of the band by photographer Jacqueline Peterson. While thoroughly enjoying this, I can’t help but notice the recent habit of releasing EPs on full-length LP albums. I’d like to know if this is solely to charge the full price or if something else is behind it. Available for pre-order now. Release date is July 13, 2024.

R.C. Sullivan – Masquerade (rcsullivan.bandcamp.com)

Just when I thought my music journalism days were over, I was hit with a wave of new music that inspired me and has me looking forward to a bright future of eye-popping and ear-opening releases. The four-song “Masquerade” from the Netherlands perfectly applies melodic hardcore to its canvas, with instrumentations and lyrics that serve as an inward monitor, thoughts you might find in ancient texts from Revolution Summer bands such as Rites of Spring, Embrace, and 3. (Pardon the comparison to acts from the increasingly distant Twentieth Century.) Though it only features four songs - “Day to Day,” “Chasing Rainbows,” “Masquerade,” and “Back in the Game” - each leaves an indelible mark, eliciting countless return listens.

Shreds – Step Back (shredshc.bandcamp.com)

Drawn in by the cover sketch of someone in the mist of some form of psychosis, this four-piece hardcore act from Sheffield, U.K. set themselves apart in a number of notable ways. Though some of the influences I’m hearing here are from the American side of hardcore, “Step Back” sounds like something I’d hear at New York’s CBGB back in my halcyon days. The Scottish act is unique and convincing. Accent or not, Jim’s vocals are some of the most unique I’ve heard to date, adding a certain level of distinctiveness to the mix of fiery guitars and rhythms. Adding this to your collection gives you something to stand out from the crowd. Featuring a full on 14 songs, none of which sound alike. This is a fast-paced guitar assault supported by drums and bass rhythms your doctor might warn against. As good as it gets.

Spells – Past Our Prime (Big Neck Records; spellsrules.bandcamp.com)

“Past Our Prime” marks The Spells’ third album. The Denver, Colorado rock 'n’ roll unit continues to impress and amaze. Featuring 11 songs best cranked up to twelve. Spells push the limits and extremes of hard rock and punk with an offering that shows they are still at the top of their game. with a stark album portrait on the sleeve that reminds me of those 60’s black-and-white propaganda films. Musically, each song strikes a chord with bombastic riffs, rhythms and lyrical attacks. “Past Our Time” is one of those rare times the album as a whole outshines any specific song or single. That said, there are entries where a particular member and instrument stand out. Listen for yourself. You’ll know.

Resolutions - Monster Mirror (End Hits Records) Sometimes, a record can have well-written and performed songs and squeaky-clean production yet still fail to inspire any emotion or reaction whatsoever. In listening to Resolution’s 2024 LP “Monster Mirror,” I got that exact non-feeling. That’s not to trash Resolution’s art or its results. It’s just that this album reminded me of the polished rock that, although the album is on a respected indie label, warrants the age-old term “Corporate Rock Still Sucks.” “Monster Mirror” gives off an energy that conjures the image of a contracted band in matching white suits, booked to play on a cruise to White Island.

Angel Hair – Insect Immortality (Three One G Records; angelhair.bandcamp.com)

Like nails on a chalkboard. Angel Hair created a sound that warranted the term “You Call That Music?” that every punk ever heard a dozen or so times a day. The noisy, experimental hardcore band introduced us to a new way to perform and express our emotions. It was dark yet cathartic to me. The band also introduced me to the term “hearing loss,” while turning me on to bands like Heroin, Antioch Arrow, Swing Kids and more close to home, Rorshach. The chaotic and often unpredictable noise was a stark contrast to Metalcore, and a welcomed alternative to the perseverance of the many tired tropes that overpopulated hardcore. Now, decades after their break up, San Diego’s Three One G records steps up to put together most if not all the band's recorded history. Being somewhat of a punk archeologist myself, ”Insect Mortality” was an absolute must-have. To have so much of the band's recorded history in one place gave me geek bumps. Whether you’re a fan of the era's artsy detour or just looking for something to scare the squares, scoop this up. The record features 17 songs. The album comes packaged in a gatefold cover on yellow vinyl from threeoneg.com. (The color variations may differ.)

Vidro – Up Till Dans (Beach Impediment Records; vidro.bandcamp.com)

Straight outta Stockholm, Vidro add four songs to a somewhat flooded hardcore market on their American debut with Richmond, Virginia's Beach Impediment Records. The band puts fourth four aggressive offerings that grow on you with each step forward. Hardcore excellence with a sense of hard rock prowess thrown in, powering the tough sound, while peppering it with more accessible hard rock elements. Though a quick ride, “Up Till Dans” (whatever that means)["up to dance" - Editor] has a way of winning over the listener's attention, with the track “Förstör Det Som Förstör Dig” []destroy what destroys you - Editorbeing the killer.

Peace Decay – S/T (Beach Impediment Records; peacedecay.bandcamp.com)

Texas thrash-metal band Peace Decay are back with their self-titled follow up to 2021’s debut 6-song “Death is Only…” Ten scathing entries of well-played rhythms and leads and tragically terrible vocals. Honestly, I had a bad feeling about this one. From the band name to the album art, everything about it said mediocre thrash. Understandably, thrash and most extreme music sub-genres are a love/hate dance. Peace Decay, however, did nothing to ignite any love whatsoever.

Bad Beat – LP 2024 (Triple-B Records; triplebrecords.net)

While background information on Detroit’s Bad Beat seems scarce, the Hardcore outfit's debut LP really impresses despite their lackadaisically named “LP 2024.” A closer look seems to prove that the band puts a lot more hard work toward their music than their image and media kit, something I personally found impressive. Sixteen scorchers that raise the bar for hardcore bands with amazing riffs, timing, and the biggest, baddest and best bass rhythms known to the sub-genre. Each songs eeks out an identity and personality all its own.

Conservative Military Image – No Squares in Our Circle (Triple – B Records)

It’s been decades since I heard the term “Skinhead Band,” and at this point in my life, I do my best to avoid any and all labels that stigmatize or marginalize anyone. Instead, I choose to approach the music without any judgements regarding social or racial ideals. You know the term: “Labels are for soup cans.” Drawn in by the intriguing cover image of two skinbyrds, yet turned off by the non-inclusive title “No Squares in our Circle” (I have no idea what that suggests,) these Chicago stompers more than make their presence known. While the songs are quite good and show off some unique characteristics, I can’t, in the least, relate to the violent, drunken, fist-flying ethos it supports. Next.

Trenchkoat – Apocalypse Hits (BigNeckRecords1.bandcamp.com)

The second album from English hardcore band Trenchkoat features 12 songs that feel as if they’re caught up in a tornado: unrelenting chords rhythms and demon spirit vocals. (Imagine Jigsaw from the movie franchise SAW fronting a hardcore band.) “Apocalypse Hits” reminds me of the pre-teen weekends spent sneaking into local theatres to catch the latest slasher films making appearances on the screen. Though those films certainly didn’t hold up or warrant return visits, the memories of being a juvenile delinquent looking for trouble are gold. Though this fast paced, fire-in-the-hole noise isn’t something I’d listen to normally, the fact that it brought back fond memories and had me recall my some of horror director John Carpenter's film scores is definitely a plus. Not my thing, at all, but worth hearing. The vinyl comes with a 16-page fanzine.

Teen Cobra – Buzzkill (Big Neck Records)

“Buzzkill” follows the group's 2020 debut EP, "Teen Piranha." If it's your thing and you don’t mind testing your ear drums limits, go for it.

The Stools - Live at Outer Limits 12-28-19 (Big Neck Records)

While the vinyl LP is sold out, here’s a chance for Stools fans to revisit that "Outer Limits" show or hear what you missed. Though I do recall reviewing one of their albums for this column, I honestly have no memory of their sound or style. While trying to listen to this album with an open mind, I could honestly find nothing worth noting or retaining. Detroit rockers the Stools might deserve more respect and mention for their years together honing their chops as a bluesy, punk rock fused band. Unfortunately, this live album won’t do it.

Kid You Not – Here’s to Feeling Good All the Time (kidyounotfl.bandcamp.com

In my late teens, I had a good friend who used the term “I kid you not” more often than any used car salesman ever mouthed. Fast forward a couple of hundred years and I find myself reviewing a final release by a band that has left us with four noteworthy albums, but seems to have called it quits. This titanic eponymous album leaved us licking the wounds of our loss. Sad, considering this is really good stuff. First off, you can’t go wrong with the title “Here’s to Feeling Good all the Time.” It announces a celebration worth attending. The party gets started with the opening track, the look in the mirror with the self-awareness and humbling self-realization of “I am who I am. And I wish that I wasn’t.” Kid You Not’s uptempo post-core sound is immediately contagious, featuring uplifting vocals, ever-reaching harmonies and riffs, and well-placed and subtly giant rhythms. If there was ever an award for not judging a book by its cover, Kid You Not brings to mind many of the bands - including Hot Water Music, the seldom celebrated Iron Chic, The Menzingers, and others - who inspired so many fans' sing a-longs, raised pints and support.

Sleave – How to Get Over (Engineer Records)

Richmond, Virginia’s Sleaves feature 10 radio-friendly AOR tunes worthy of an A&R rep's wet dream. Polished, clean, and well-produced songs that went through me without ever making a connection or striking a nerve. While the music and production are worth noting, perhaps it’s the corporate rock vibe that seems to flow through each song that turned me off. The track “How To Get Over” begs for your attention, but you’d have to play it for me a dozen or so times before I remembered it. Pass.

Bad Bad Hats – S/T (Don Giovanni Records; dongiovannirecords.bandcamp.com/)

Taking a deep dive into Don Giovanni Records catalog has always been a rewarding journey, one that has included Screaming Females, The Ergs and many, many more. Mining the just released LP from Minneapolis, Minnesota’s dynamic duo Bad Bad Hats was quite fulfilling as the 10 songs on this disk almost immediately brought warmth to my cold heart. The duo of Kerry Alexander and Chris Hoge have been writing, recording and touring since they met in college more than ten years ago. Through four previous albums, their brand of warm and upbeat pop rock has brought the term indie-rock back to relevance. Alexander’s voice is warm and heavenly. I found myself bobbing my head and tapping my feet to every note. The songwriting of Alexander and Hoge deserves praise as their efforts seem grounded in classic applications and 90’s pop appeal. Whereas all ten of the entries warrant praise, the rhythmic “Let Me In” had me in a dance minded trance. “Back to my Body” was the perfect detour from the norm. And “Meter Run” had a bubbly pop genius about it that can’t be denied. While I can’t confirm whether or not this album brought the sun out today, it’s a strong possibility.

Faz Waltz – Endless Beat (spaghettytownrecords.bandcamp.com)

Released back in January, 2024, “Endless Beat" is Faz Waltz' tribute to the raucous and raw rock & roll and boogie of the Fifties. And while I find it more than admirable that they avoided an overdone cover treatment by writing new tunes with an old, familiar approach, I couldn’t help but think that a band I admittedly love and have dedicated considerable free time hasn't kept their eyes on the ball and hands on the wheel by continuing their upward trajectory. Worth noting, the delivery, recording and production are aces. Its focus on the "once upon a time" was a bit disappointing for me. All in all, not a bad record by any sense. Just one whose focus turned me off.

The Boatsmen - Hard Livin' (spaghettytownrecords.bandcamp.com)

Sweden’s hard rockin’ delinquents The Boatsmen are back, and thankfully, haven’t mellowed over time. The band and the music on "Hard Livin'" feel like the perfect soundtrack to a night of drinking and bad decisions with your friends. A night you’ll morally regret, yet repeat on a weekly basis. You know, that night you met Lemmy Kilmister and regretfully challenged him to a “Last man standing” drinking game. Sure you didn’t win, but you sure enjoyed losing. Okay, so I got way off track. “Hard Livin” delivers hard, relentless, bombastic, hard rock and punk, bringing to mind some of hard rock's best and hardest, such as Motorhead, Rocket From the Crypt, or Hot Snakes. Twelve songs, not a bad one in the deck. Through their last two albums, I feel as if I’m channeling some incredible hard rock. “Hard Livin’ has me hoping for more.

Wallbreaker - Wallbreaker (RefuseRecords.bandcamp.com)

Wallbreaker's two-song EP admittedly took a few listens to have its appeal sink in. (Isn’t that how it always goes? ) This self-titled EP fits that bill. Formed by Jeremy Evans (Coke Bust, WarXGames - two bands I would highly recommend looking into;) Jeff DeSantis (Bloodtype, Bleeding Edges Label;) Ken Ramsey (Glory Fades;) and Ben Wood (Chainsaw To The Face), the New Jersey-based hardcore band finds influence in great hardcore bands such as Life's Blood and Sheer Terror. Raw and angry as fuck. Having recently received a small taste of Wallbreaker, I knew what was coming, and I wasn't expecting much. However, after a few closer listens. I was more than convinced. Surely, Wallbreaker seems to be playing it safe when it comes to their brand of hardcore, but if it ain’t broken…

Merauder - Master Killer (Rebellion Records; rebellionshop.com)

Music is very subjective. Just because you're not into a record, or you straight-up hate a band's sound, doesn't necessarily mean it sucks. Such is the case with Merauder. While many in the Hardcore and crossover community go nuts for them, Merauder is like many of the outerlying crossover, tough guy bands of the 90's that did not appeal to me. While earlier recordings show ties to Hardcore and especially metal crossover, their 1996 Century Media release "Master Killer" sent them directly into the "Metal Core" universe. This latest reissue of 1995's "Master Killer is the first vinyl issue since 2021, available again on color vinyl and imported from the Netherlands. Unfortunately, listening to these 10 songs for the first time since 1995 was not the least rewarding. Featuring the original ten songs, this marks the first time that the promise of color vinyl was more rewarding than the music itself. Hard pass.

The Fastbacks – 1985 Okay (HeySuburbiaRecords.com)

Ask any music-minded Seattle resident about The Fastbacks and expect a barrage of praise and admiration for a band that helped inspire the birth of Sub-Pop records and pioneer the entire grunge rock scene. Recorded July 9th, 1985 in a Pioneer Square basement (my wife and I almost moved there and never once regreted our decision not to,) the 12-song demo has been carefully remastered. (Well done, I must say.) “1985 Okay” marks the first time I’ve listened to The Fastbacks since my time in Seattle (2017 – 2021.) I found it hard to digest that a demo, basically an introduction to a newly formed band, could be so impressive. Though not polished or overproduced, the songwriting and final results are quite impressive. There’s a notable cover of Jefferson Airplane's “Somebody to Love." It can also be noted that Warnick’s vocals and approach are incredibly versatile. I mentioned I had not listened to the Fastbacks since my Seattle days, but this record's appeal guarantees numerous spins, no matter where I call home. The record comes in limited edition white vinyl and available through Italy’s “Hey Suburbia” label. On the downside. If there is one. I’d like to voice my dismay regarding reissues that are void of any cookies that tell the story about the band members and history. I would gladly trade the color vinyl for a backstory, images and, at the very least, a lyric sheet.

Mary Timony – Tame the Tiger (Merge Records)

Before reviewing Mary Timony's "Tame the Tiger," it's important to celebrate the singer-songwriter-guitarist's 30-plus years of contributions to indie music and culture as a member of bands such as Autoclave, Helium, Wild Flag, Hammered Hulls, and Ex Hex, among others. Her voice, songwriting, and guitar play have contributed so much to independent music that nothing less than a statue erected in her honor would suffice. On this solo release, "No Thirds" opens the journey with Timony sounding like a troubadour with a tale to tell. Authentic on all levels. One can feel Country and Folk vibes with the scent of Sheryl Crowe thrown in for good measure. Gentle strokes of folk-inspired melodies and emotional soundscapes carry the listener through like a gifted storyteller. “Tame the Tiger” is a 10, if not a 10+, a record that’s warranted countless listens and has confidently occupied my turntable since its arrival.

Moira - Demo (Refused Records; moirapl.bandcamp.com)

Earlier today, I had the chance to listen to a rather impressive four-song demo of Poland's female-fronted Moira. The band delivers some dark hardcore that feels quite dynamic and uplifting, songs that feature a deep emotional core. Screamed/shouted vocals and sharp as fuck instrumentals forge a thick-as-fuck bond that impresses on every level. Appealing to both hardcore and metal purists alike, I have to admit that Moira caught me off guard. However, I didn't expect anything nearly as moving, dynamic, or satisfying as these four songs. I loved this and can’t wait to hear more.

Outer World - Who Does The Music Love? (outerworldmusic.bandcamp.com)

Featuring Tracy Wilson and Kenny Close of Richmond, VA's Positive No, Outer World seems to be an evolving project from the songwriting duo. Wilson and Close make for a dynamic songwriting team, creating a soundscape that includes dreampop, shoegaze, and trip-hop elements. I am dumbfounded regarding how Wilson's singing has held a grip on me since I first heard it back in the mid-Nineties, both angelic and haunting simultaneously. At any range or level of emotion, it perfectly conveys the song's mood and its intended emotion. If these two songs are any indication of what's to come, sign me up.

The Hasbros - God Hates the Hasbros (thehasbrosnyc.bandcamp.com)

Since my editor agrees that my reviews have no actual timetable, I thought I'd step back to discuss what was one of 2023's best releases. Since the Hasbro's debut album, 2018's "Cart Before the Horse," the Queens, NY, band has earned both my respect and admiration. How could they not, with their innate ability to forge excellent musicianship with a sense of songwriting that has me referencing acts as far-reaching as early R.E.M. and Canada's The Doughboys? "God Hates the Hasbros" features all the melodies and hooks needed to relate to and invite a record into your "must-have" tune-a-verse. There's a certain looseness to the musicianship that feels more like cadence, as it might point to their chemistry and desire to create and communicate with one another. The album features nine songs, each of which glistens like gems, making their connections and impact. Favorite songs include the power pop sparkler "Eye to Eye," the emotive (yes, I'm a sucker for slow jams) "Days of Night," and the "knock it out of the park" aggression of "Hell or Me." In the end, it makes me happy to write about and promote something as rewarding as "God hates the Hasbro's." Learn it, know it, live it.

Public Acid - Public Destruction (beachimpedimentrecords. bigcartel.com)

There comes a time in every reviewer's life when you get tired of using the same words and terms to describe your thoughts about a recording. My time came when listening to Public Acid's 8-song firestorm, choosing to skip the ingredients of that word salad. Let's focus on the record at hand. While North Carolina's Public Acid delivers more than its share of pummeling and bludgeoning, there's no further tale to tell. The band fails to distinguish themselves otherwise unapologetically, forgoing any rhythm, harmony, breaks, or breakdowns. Each minute-plus song fails to distinguish itself from the other, thus leaving little to no impression. Should you take a moment to read the bio on their Bandcamp page, you'll get the impression that they take themselves way too seriously. Pass.

Canal Irreal - Someone Else's Dance (Beach Impediment Records)

While finding little information about this Chicago hardcore band, I must admit that "Someone Else's Dance" is some of the best stuff I've recently caught up with from the respective hardcore camp. Fast, furious, and unrelenting. Canal Irreal's sound travels much further than the limitations of its sub-genre. Granted that, as of late, my attention span has been that of a squirrel. Realizing that "Someone Else's Dance" kept my attention throughout its 11 tracks, it is at least admirable. The 10 songs offered on "Someone Else's Dance" feature fast and upbeat leads, reprises, and above-the-rim vocals, paying respect to while giving just about every genre, sub-genre, and "post" addition a swift kick in the tush. Listening to the album countless times, finding new elements to celebrate each time, says a lot. Great stuff worthy of its sold-out vinyl status. I recommend going to the Beach Impediments Bandcamp page and listening to it.

Sexpill - In Dust We Trust (Beach Impediment Records)

From the first note (if you want to call it that,) I knew Sexpill was not my thing. To be more precise, if given the choice, I would never choose to listen to this again. "In Dust We Trust" features 12 songs of absolute misery, scathing noise that sounds like nails on a chalkboard and reminds me of being awakened on a Saturday morning by a jackhammer performing "Ongoing Construction Project." "In Dust, We Trust" marks the Texas bands' first 12-inch LP and shows a universe of space for improvement.

Mala Vista - In the Dark (SpaghettyTownRecords.bigcartel.com) (Pre-Order)

You'll not often see me reviewing singles, especially considering how difficult it is to gauge a band's appeal through one or two songs. New York's Mala Vista might be the rare exception to the rule. The single "In the Dark." transports me to a specific time and place with its colors, chords, and vocal associations that would sit comfortably in a Lower East Side club, bar, or dive. Think 80s post-punk or guitar rock. Think about the kind of excellence and individualism the typical music lover and show attendee would love and a corporate rock record label would pass over. I'm old, so it might be hard to compare any current acts. Instead, board my time machine back to another time when acts such as the Plimsouls, Dead Boys, and Johnny Thunder were corrupting our eyes and ears. "In the Dark" is a killer track that will send to their Spotify page seeking more,

Bloodshot Bill - Trick and Treat Vol. 2 (GhostHighwayRecordings.bandcamp.com)

If you're still into 1950's hillbilly and rockabilly, then this 5-song 7-inch ep is for you. Limited to three hundred copies or available for download. I didn't find anything remotely interesting or noteworthy in these songs, just revivalist horse hockey that can probably suck the bumper off a '57 Chevy. Hard pass.

Bad Anxiety - S/T (RefuseRecords.bandcamp.com)

While it took me a hot minute to find any background information regarding Mississippi-based Bad Anxiety, I learned that it is more or less a solo project of Hampton Martin, self-claimed King of Hattiesburg, Mississippi DIY Punk. He's perhaps best known for his being a member and contributor of the Delta States and Judy and the Jerks. The four songs featured on this EP are rough yet appealing. Sampling this for the first time reminded me of the fondness I've always felt regarding the raw and unadulterated punk noise of the '80's and NYC's The Stimulator's "Loud, Fast, Rules" ethos. Jagged guitars, bratty vocals and punk rock angst, generating enough excitement to make you forget about the rules of the game that punk sought initially to defy. Good stuff you should check out.

Drink Deep - "DD" EP (Refuse Records)

Whether or not Berlin, Germany's Drink Deep took their name from Rites of Spring's most recognizable song is none of my business. There's no argument regarding the pressure it might bring to live up to the choice. Respectively, Drink Deep sure does wear that "Revolution Summer" sound and ethos on their sleeves. Whereas the eight songs on their debut EP certainly play homage and find influence in bands such as Rites of Spring and Embrace, it never feels gimmicky or unoriginal. Just eight songs that hit all the right buttons musically and raw nerves emotionally. Impressive.

On Patrol: Discography (1993-1996, Richmond, VA) (southernpunkarchive.bandcamp.com)

If you're familiar with my column (and I know you're not,) you'll see that I love discographies of all shapes and sizes. Tracking down the recorded output of a band I have no prior knowledge is a particular passion. Such was the case with Richmond, VA's On Patrol. Hearing On Patrol decades after their initial existence was sure to bring some surprises. What transpired was beyond any expectations as I found myself enjoying every track. What surprised me most about these recordings is their kinship with the Cali-punk acts and Lookout bands such as Crimpshrine and Operation Ivy. Present is the desire to skank and have fun being a total nerd. Absent are the tough guy breakdowns and metallic worship. It features 36 songs from a handful of 7-inch EPs and an LP. Plus, a handful of live hits. On Patrol's bouncy rhythms and uplifting spirit inspire me as someone who's become aware that I may never uncover everything I might have initially missed out on. I'm grateful for discographies like this to remind me.

Nausea - Cybergod/ Lie Cycle (Svart Records; revhq.com)

Europe's Svart Records bring New York crust-punk Nausea's 1991 "Cyborg" and 1992's "Lie Cycle" EP's together for the first time on a remastered 12-inch with the bonus track "Here Today." Most notably, Nausea appeared on Revelation Records' 1988 classic "New York Hardcore" The Way It Is" and was an essential part of the "Squat or Rot" movement that supported the squatter practice of the time. Nausea's sound was scathing and brutal, earning a small yet dedicated following. Hearing them for the first time in 30 years (remastered or not) did not improve my opinion of Nausea nor my appreciation of the band or crust-punk genre. Knowing there would undoubtedly be a remaining niche of punks and hardcore archeologists out there eager to remember the days when deodorant wasn't a key ingredient in the survival kit, I'd give it some attention. Perhaps hearing these again will renew your memories of dumpster diving, squatting, and panhandling on the Lower East Side. Note the records' limited Transparent red vinyl and insert. (Limited to 400 copies. (Release date: March 28. Pre-order now.)

Trash Knife - Weird Daze (trashknife.bandcamp.com)

"Weird Daze," the ten-song debut LP from the Philadelphia quintet, combines excellence with an aura of fun as it produces something that most would consider punk but has an appeal that anyone looking for honest-sounding, high-energy moods and tempos would find themselves drawn to. Trash Knife and the 10 recordings on "Weird Daze" make their impact while leaving a lasting impression, highlighted by fast and fiery screamed vocals, rapid-fire riffs, and snake-like rhythms. I'm often reminded that when you findd yourself hooked on a band and their music, keeping tabs on when and where their next show was happening became part of the experience. Music, lyrics, and snotty, growling vocals keep you drawn to a core that can be compared to early punk bands such as the Avengers or Germs.

Nightfreak - S/T LP (nightfreakchicago.bandcamp.com)

Despite only visiting Chicago once, the city has been a regular topic of my daily conversations and targets for future travel. Sure, the winters are cold, and there are neighborhoods where you better watch your ass. But such cities are a breeding ground for honest, badass music. Such is the case with "Nightfreak." Nightfreak displays a gift for high-octane guitar rock that screams and declares independence from corporate interference on their self-titled 9-song debut. Elements of punk, hard rock, and musicality bring to mind the raw energy of garage rock. Nightfreak displays the raw power and savagery fueling a debut juggernaut. Like my friend Tohm used to say, "This is the tits." On a side note. I sent this over to a friend who runs a label that’s geared toward this kind of debauchery, and he loved it.

Asbestos - Wishful Thinking (11pmrecords.bandcamp.com)

Congratulations, Asbestos! If your intentions going into the recording studio were to say, "Fuck you, we set out to make a record you'd hate and immediately designate for the circular file," you won the prize. If not. Oh well. Musically forgettable and vocally punishable by death, "Wishful Thinking" doesn't show any hope for this relatively young punk/hardcore act, a band that can be significantly improved by not making their attempt at tuning up a key focus of your recording session and rethinking the screaming bloody murder into the microphone. The opening basslines on the third track, "Double Bind," are the only savior throughout this 7-song dumpster dive. However, it's far too late into the game.

Morons Moron's - Go Pop (bigneckrecords1.bandcamp.com)

While it's pretty apparent Poland's Moron Moron's didn't put much thought into naming their band, this Molotov cocktail of garage punk and rock 'n' roll produced here warrants attention. If you're a fan of no-nonsense and unfiltered guitar rock, you're in the right place. The EP features two songs, "Cadillac Eyes" and "Your A Sleaze." If you're a Rocket From the Crypt Fan Club member and have five and a half minutes to spare. I highly suggest this.

Heatseeker - Illusion of Will (Refuse Records)

I have no idea what inspired their five-year break from recording, but the Warsaw, Poland hardcore band Heatseeker must have been tackling essential duties. Their new album offers an all-out assault that takes grip of your interest and attention, lifting any preconceptions about time apart, putting any strain on the member's personal or creative bond. Heatseeker possesses all of the ingredients necessary to demonstrate both its style and message. (The beats, the breaks, and the breakdowns.) This 6-song 7-inch EP comes on black and green vinyl. For those mp3 folks I keep hearing about, it can be downloaded on their Bandcamp. This is a record that has me digging deeper into Heatseeker's past recordings as well as their influences.

Junta - Self-Titled (Sentient Ruin Records)

As a kid from the New York streets, it's always good to see and hear new bands coming up, making noise, and keeping that D.I.Y. spirit alive. Junta struck me with their raw, DIY approach to hardcore punk. I appreciate the novelty of their dedication to Anarcho beliefs. What separates Junta from the typical "Squat or Rot" bands I'm used to is the attention to more of what I would consider the rhythmic focus of their music. The vocals are impressive, too, in English and in Spanish. Overall, New York's Junta impresses through 11 well-executed and produced songs.

MooM - Plague Infested Urban Dump of the Future (Lixiviat Records)

Far be it from me to trash the work of another (especially when they seem pretty passionate about the art they create) but there are times like these when, as a listener, you don't feel any connection to what is unfolding around you. Israel's MooM flies under the grindcore flag/power violence banner. I've never enjoyed metal styles and often questioned how others possibly could. On their full-length debut for Lixiviat Records, the Tel Aviv, Israel band sticks with what they know, delivering a torturous mix that the LP's title can best describe. Meanwhile, the instrumentation of Ez Ra, Gad, and Heshbon is pure misery and torture to the ears. The death toll doesn't take hold until Sima enters the picture with what is, without a doubt, the most scathing and unenjoyable vocals I've ever heard. Thanks to Lixiviat Records for the informative and helpful email. Unfortunately, this is far from my kind of art.

Stymie - Toil and Folly (New Rage Records)

Bios attached to a file describing an artist's infinite influence and misunderstood genius don't appeal to me. Listen to the music on your terms, write what comes to mind, and then read the buyer manual if you're still interested. That's the route I took to "Toil and Folly." Low or no expectations can be suitable for someone swimming with the indie and college rock of the time. Stymie were an unheralded Seattle band that recorded this album some 30 years ago. It's finally being released by New Rage Records, who have similarly unearthed seminal recordings by Alcohol Funnycare and Sweet Water. Stymie would have fit right in with all the hooky bands of their era. It brings me back to when every small club and bar hosted the best band you'd ever heard. When the guy you met behind the merch people later that night was in the band. Essentially, this collection of songs is a "10", not a bad one in the bunch. In taking this collection in, I can't help but wonder if their trajectory would have differed if Grunge hadn't hit Seattle so hard. Check it out.

Samiam – Stowaway (Pure Noise Entrtainment; purenoise.net)

There's a quote in a movie, I don't know which one, that goes, "Have you ever loved a band so much it hurts?" Well, that's how I feel about Berkeley, California's Samiam, formed way back in 1988 (yeah, during the Reagan administration.) Like many Berkeley and Gilman Street associated bands, their signature sound was based on the pop-punk sound. What set them apart was their incredible lyrics and ability to express the emotions that came with life's insecurities and failures without getting all Wikipedia on you. Samiam - like, say, Jawbreaker - was incredibly relatable. All Samiam fans have their favorite albums and songs. Mine being "Factory" from the 1997's "You're Freaking Me Out." Back to the present, and I'm trying to find the words to adequately describe the band's first release since 2012's "Complete Control" sessions. As I go into this review, I realize I've had it on repeat for hours without feeling the slightest intention of playing anything else. It's one of the rare occasions where each song immediately becomes part of you. The vocals, rhythms, and warm yet punchy guitar leads. As I get deeper and deeper into "Stowaway." I can't help but feel this is a 10. While many songs stand out, it's the album itself and the way all the dots connect.

Snail Mail - Valentine Demos (Matador.com)

Following the urging of a reliable music nerd whose name shall remain unknown, I gave Lindsey Jordan's project Snail Mail a good listen. Having loved the song "Speaking Terms," I went out and bought the album "Lush," in which it is featured, and quickly found a new voice to anchor my calm. 2021's "Valentine" came, and that anchor remained. So when I got wind of "Valentine Demos," I stepped up and pre-ordered a copy. Featuring a small offering of just four songs, this might be Snail Nail's best and most captivating work to date. "Demos", as expected, delivers wispy and intimate offerings that are both captivating and lush. I've always been a sucker for warm, cozy acoustics, and hearing those loose chords on "Headlock" had me choked up. Snail Mail has been labeled as Pop, Alternative Rock and even Folk. If you ask me, labels are for groceries. Suppose you're not already familiar with Snail Mail. I highly recommend tracking down "Lush", "Valentine," and, of course, "Valentine Demo." You'll indeed thank me later.

Bulldoze - The Final Beatdown (Streets of Hate Fanzine; streetsofhatenby.bigcartel.com)

Originally released on CD in 1992, now on vinyl for the first time since 2011, "The Final Beatdown" would mark New York knuckle-scrapers Bulldoze only full-length. Originators of beatdown style, one that influenced a wave of dumbed down hardcore bands that proudly wore the "School of Hard Knocks" label. Ten songs of heavy, unimaginable, and unintelligent stompers. Suppose you're a fan of 25 ta' Life, Commin' Correct, or Rick ta' Life on a Horse. Well then. You might want to relive this. Limited 100 copies on Gold/Black splatter vinyl.

Ozma - Rock And Roll Part Three (ozmamusic.bandcamp.com)

Aside from an eye-popping instrumental intro, "Domino Effect, California power-pop act Ozma's " "Rock and Roll Part Three" is a complete letdown and reminder of why rock radio is unlistenable, bringing to mind the bloated and overproduced corporate rock of the past. Ozma, despite some Herculean guitar playing, never connected with me. Musically notable, however, the vocals are a corporate label honcho's wet dream and an average music fan's castration nightmare. "Rock And Roll Part Three" does little more than wish there would be no sequel. Please note that my reviews are my opinions and not meant to hurt any feelings.

Combust - Promo 2023 (Triple B; bbbrecords.bandcamp.com)

Combust is an up-and-coming New York Hardcore band that arrived on the scene with a six-song demo in 2017. Featuring a chugga-chugga metalcore sound and street-level, non-intelligent lyrics, the two-song offering was painful to get through. "Dark Corners," with its unnecessary broken word intro, and "N.Y.H.C." ruin the journey before it begins. Honestly, it's the worst I've heard in forever.

Reagan Youth – The Poss Tapes 1981 – 1984 (Cleopatra Records; revhq.com)

Considering the sad and gruesome past surrounding this early New York City Anarcho-Punk band, one scarred by drug addiction, murder and suicide, the surviving cast of the original band have spent more than a decade on the road with revolving fill-ins too young to have seen the release of 1984’s “Youth Anthems for the New Order.” Instead of creating new anthems to rally listeners in an era of political unrest, they have instead, rolled out some less than quality outtakes and live recordings. “The Poss Tapes” is just more of that. Featuring a mish-mash of 19 demo and live recordings, "The Poss Tapes" is a collection of expired leftovers and sloppy seconds, an offer of table scraps even a dog might turn its nose up to. There's no blaming a band for wanting to keep their name on the mind of people or make some fast cash by resurrecting unearthed material, but this only goes to lessen whatever is left the band's legacy. The record includes liner notes by original bassist Al Pike and comes on color vinyl. None of which makes this worth checking out. Instead, more crap for the circular file.

Pushed Beyond all Reasonable Limits by Brian Garrity (www.diwuelf.com)

Pushed Beyond All Reasonable Limits explores and celebrates the rock photography of Minneapolis's Brian D. Garrity. Having grown up in California with a stop in Seattle, geographical locations would have surely provided plenty of ammunition for his passion and long presence as a rock photographer. His life in Minneapolis, however, would serve as the launching point for a lifetime of capturing timeless moments. The book features images of bands such as Radiohead, Marilyn Manson, Rancid, Nirvana, Husker Du, Babes in Toyland, Lunachicks, Ice Cube, Motorhead, Evan Dando and Julianna Hatfield, Garbage, Rollins Band, Deftones, Luscious Jackson, Pigface, Hole, Descendents, Limp Bizkit, Alien Sex Fiend, The Offspring, The Melvins, and so many more, images that have been published in Rolling Stone, Spin, Alternative Press, and several other print and online outlets.

The perfectly timed captures, natural lighting, and slow-motion captures are each worth praise. However, it's the many images of fan reactions, interactions, and bands hanging out backstageor just grabbing a meal that make this collection priceless.

Pushed... does more than document the fans and bands. It visually documents what it feels like to be in love with live music. No matter the artist or observer, we're all brought together for the same reasons. As with any release from DiWulf Publishing, you can always count on quality printing and binding. No matter your sub-culture, they're sure to have something to keep you informed and entertained. Those reasons and many others make this such an engaging book.

COA - Trauma Dump (triplebrecords.net)

You might have noticed that I've kept my ears peeled regarding Triple-B Records releases and Bandcamp posts.That's fitting, as Triple-B has been consistent in releasing hardcore punk, the music I've been drawn to for most of my life. It's a label worthy of attention if you're dedicated to the 'core. In the case of Boston's COA (Colin of Arabia), their five-song, gritty, and back-to-basics aggression fits well with that urban landscape. It's worth noting that, though COA has been around for quite a while, this is their first recorded material to be released in ten years. Not bad, but not all that impressive, either.

Restraining Order - Locked Inside (Triple -B Records)

When taking in Restraining Order's new album, Locked in Time, one can't help but make comparisons to East Coast neighbors Transit. Not by sound, but by the sense of growth and maturity the album shares with 2021's Glow On. Since Restraining Order's impressive 2017 demo, the Massachusetts Hardcore act has appealed to different eras of the core with their raw, aggressive approach and the new era of more elevated musicianship and characteristics. Whereas 2019's full - length debut "This World is Too Much" was a big leap forward, 2023's Locked Inside is a total and complete thrust into the future. A good one, at that. Ã¢â‚¬Å“AddictedÃ¢â‚¬Â opens the album like a category-five storm. The relentless punch of the follow-up Ã¢â‚¬Å“Left UnsaidÃ¢â‚¬Â adds gas to an already out-of-control fire. From there, things level off without ever wavering in intensity, energy, or unabated savagery. Ã¢â‚¬Å“Wouldn't You AgreeÃ¢â‚¬Â slows it down with its deliberate pace and focus. The title track Ã¢â‚¬Å“Locked in TimeÃ¢â‚¬Â is, by far, my favorite of the album. Restraining Order remains a favorite as they evolve musically while keeping one foot in Hardcore's original sound and another in its future. Where that might take them is yet to be known. However, the growth and progression of the band see no bounds.

Private Mind -The Truth You See (Triple B Records; triplebrecords.net)

Melodic Hardcore from Long Island. "The Truth You See" features eight songs in all, four from their 2020 debut and four newly baptized ones. Dark and moody, yet introspective and melodic. Elements to build on and take them in whatever direction they wish to go. Each song stands out. "The Truth You See" offers reminders of great bands such as Turning Point and Balance & Composure can be heard on my end.

Fyzxical - Is This Your Life? (Triple B Records)

What goes better than purposely misspelling your bands name and flexi-singles? Well, I don't know. That difficulty of sorts didn't stop me from lending my ears to the single from this mystery hardcore band. While hearing "Is This Your life?"" and Fyzxical for the first time, my reaction was hardly felt. While lyrically, vocally, and musically, this isn't bad, it just doesn't inspire further listening. Perhaps more material will encourage more of a reaction. Until then, pass.

Just a Minor Threat - Photos of Minor Threat by Glen E. Friedman (Burning Flag Press/Akashic)

"Just A Minor Threat" features iconic images of the legendary band taken by archetypal photographer Glen E. Friedman, including classic images and variations of Minor Threat in front of the Dischord House, Buff Hall, 930 Club, CBGB, and more. Before acquiring the book, I made the short trip to Washington DC's MLF Memorial Library to join Glen and Ian to discuss the book, images, shows, and, in particular, friendship. As I sat there surrounded by people my age and a half dozen or so older, it hit me that the iconic, beloved Minor Threat broke up 40 years ago, and I realized how much that hardcore/punk band and FriedmanÃ¢â‚¬â„¢s work helped mold and shape me. I felt thankful for what's been a long and rewarding journey. I enjoyed every word, story, and exchange with people in the crowd who attended the shows and were a part of booking the gigs. Whether you've seen them countless times or seeing them for the first time in this book, there's something for everyone. Friedman's shots always come from a place of love.

Code Orange - The Above (Blue Grape Music; bluegrapemusic.com)

If there's ever been a band that flat-out scares the skin off of me. Pennsylvania's Metal Core gods Code Orange owns all rights to blow back my hair while making the hairs on my body hair stand on end. On their sixth album to date, it's not as much as whether this is good. It's great. What you'll be asking yourself as you begin to rank their albums in importance and magnitude is. Have they added any new dimensions or elements to their wall of fiery sound to keep us on our toes? To this the answer is absolutely YES. The fourteen scorcher, 'The Above,' opens the album with a similar energy that each prior juggernaut exhibits by completely taking you out of your previous mood and transplanting you into one all of their making. That's it. That's what great music does. What I love about Code Orange and 'The Above,' is how after years of making intense music together. They still feel genuine, intent, and set apart from anything else I'm listening to. The duel vocals, fiery riffs, the depths of the rhythms. Those that keep my attention throughout and remain long after. As my long-time friend Ev Gold (Cinema Cinema) told me, "You have to surrender to the trip."

SAMUEL - High Places (samuelsc.bandcamp.com)

What drives a group of musicians to reform or reconvene and record after 27 years apart? It's a story I'd be interested in sitting in on. Imagine the shock when one of the members contacted me for permission to use a couple of images I took of the band for their seven-song anthology, "94-95."" Before considering such inquiries, I gave the somewhat ambitious 8-song affair 'High Places' a listen, and found eight songs of tight indie rock with impressive vocals, warm rhythms, leads, and excellent strong structure that keeps it interesting throughout. Though we never made that deal to use those images, I appreciate the interest and admit to enjoying this, and I can't help but praise Vanessa Downing's vocals.

BOLD - Speak Out (Revhq.com)

If you ever decide to jump into reissues, it's very important to understand that all are not created equal, and continually cruising on memory lane is unhealthy. In the case of BOLD's 1988 debut Speak Out, I'm should have avoided going down that path. If only every reissued, remastered, and multi-color vinyl LP could achieve its intended goals by impressing the listener and maybe even blowing some minds. In the case of BOLD'S 1988 debut and only full-length blast, it's a question that comes into focus. Originally released in 1988, Speak Out would be the New York Hardcore imprint Revelation Records' eighth release. Thirty-five years later. Revelation has given it a full-on repress and a vinyl reissue for the ages, as the color vinyl and accompanying 40-page book are pretty impressive. That said, while respecting aspects such as packaging, presentation, and the color variations of the vinyl, Bold weren't much to fuss about back then and have certainly not aged well. For myself and many others. BOLD always came off as a saccharine version of Youth of Today, aside from a few songs such as "Talk Is Cheap,"" "Nailed to the X," and "Wise Up." What I remember most about Speak Out is how underwhelmed and downright disappointing the album was. Remastering and reissuing it on color vinyl with a 40-page booklet hasn't changed that. Beloved as they might have been by some in the CBGB HC scene, they also got a lot of hate from those who found them gimmicky and preachy, and they were often derided as a carbon copy of their mentors Youth of Today. Side note, they were barely 14 when they formed the band, so cut them some slack. At least their heart was in the right place.

MONEY - "Money" EP (beachimpedimentrecords.bandcamp.com)

When previewing Money's upcoming eight-song EP, I found myself quickly disinterested, unraveled, and left retreating with my hands over my ears. Even as my knowledge and appreciation for Metal sub-genres has grown, many elements still escape my interest and level of appreciation. Darkness can be a great thing. It's worked its way into music since the beginning and shows no signs of decline. But if you don't weather the storm, what's the point? Listening to Money offered no rewards. Instead, it sounds one-dimensional and limited in its scope and ability to evolve musically. There are no breaks, breakdowns, face-melting solos, or bridges to brighter places. It's just scathing darkness and riffs to no end. If this is your kind of misery, go right ahead. Available in "coke bottle" clear and white vinyl.

GOLPE - "Assuefazione Quotidiana" EP (beachimpedimentrecords.bandcamp.com)

Another preview. This one is from Italy. Not having any previous knowledge of GOLPE or its personnel helped me to go into this review with open ears and an open mind. Hearing GOLPE for the first time shows how much Italy has contributed to rock, punk, and hardcore. It would seem the 'Loud, Fast Rules' ethos of NYC. icons the Stimulators professed had an international reach. The band's debut has a stripped-down, early hardcore appeal, bringing to mind the legendary Italian hardcore band Raw Power. Worth checking out.

FURY Ã¢â‚¬â€œ "Resurrection" EP (LG Records; dischord.com)

Originally recorded in 1989, this meat and potatoes reissue of the shared studio session that coalesced between members of DC's Swiz and Ignition during the last ten minutes of the recording of Swiz's "Hell Yes, I Cheated." Considering the time allowed and the spontaneous nature of the recordings, these tracks are raw and stripped down to their bare bones. Both bands are known for their raw and uninhibited approach to hardcore, and the sogs presented here don't stray any further. Anyone familiar or new to these recordings will benefit from this short and meaningful collaboration.

Cleons Down - 1995-1997 (Council Records; cleonsdown.bandcamp.com)

This reissue collects the 11 songs DetroitÃ¢â‚¬â„¢s Cleons Down recorded during their short, mid-Nineties time together (hence the title "1995 - 1997.") The lesser-known Cleons Down sound reflects a time when punk and hardcore music became more experimental, expressive, and emotive. While I've been attempting to feature fewer reissues (or in this case, a discography,) my appreciation of bands that guitarist Jeff Dean played with (The Bomb, All Eyes West, Airstream Futures, Dead Ending, and countless others) warranted a review. Originating in Michigan and existing in that mid-Nineties frame, it's no wonder that Cleons Down reminds me of the many bands that were related to Council Records such as Current. Those bands shared certain rhythms and grooves, start/stop breaks, and lyrics that served as an inward monitor. As an example, the song "Loss for Words" perfectly encapsulates the mood and ethos created by Dischord's "Revolution Summer." Cleons Down also brings to mind bands like New Jersey's Turning Point and Lifetime. Each listen has produced an additional, go to song for me. It should be noted that shortly after my purchase of the MP3Ã¢â‚¬â„¢s on Bandcamp, I went ahead and ordered the album, due largely to the album's amazing art and cream soda-colored vinyl. Note: The vinyl version looks to be sold out. Therefore, I highly recommend downloading the MP3's or streaming the collection, and checking back to see if a new pressing becomes available.

Das Damen - 1986: Keeps Me Wild (Reissue)(Dromedary Records; dromedaryrecords.bandcamp.com)

The year was 1986, and guitar punk and power pop were still making waves and kicking down doors. Formed in 1984 in New York City at a time when Alternative Rock was still defined by having a rougher edge that thrived and survived left of the FM dial, a time that fostered bands like Husker Du and The Replacements before rightfully anointing them as legends and heroes of alternative culture. Noisy, fun and raw, Das Damen - Jim, Alex, Phil, and Lyle - cultivated a sound that reflected life in New York City and til' this day, reminds me of what you might dig up in the stacks at Greenwich Village's long defunct Other Music or Freebeing Records. Favorites include, but are not limited to, the spacey, psychedelic "Behind My Eyes" and the watery, yet scorching "Trick Question." The reissue features 17 songs of "all killer, no filler." Guitar rock anthems like this were a blast to ingest in 1986 and a pleasure to revisit in 2023.

He Who Cannot Be Named - Imposter (Spaghetty Town Records)

If you're unfamiliar with HWCBN, you will most likely remember him as the maguitarist with punk legends, the Dwarves. Is he a superhero, villain, or anti-hero? Well, perhaps that's for another day. What is quite apparent is his ability to craft songs ripe with melody, hooks, and pop-punkish sounds you might not expect from a masked artist. Granted, HWCBN'd bag of tricks relies heavily on catchy rhythms, melody, and hooks. What might catch you unaware is the secret sauce of catchy songwriting you get with 'Imposter,' an appealing 14-song palate of tasty power-pop-punk that should satisfy the harshest critic. As someone who tends to avoid what I might see as a gimmick (like, say, the lucha libre masks,) I can honestly confess that this was quite a surprise that has garnered many listens.

Saetia - Collected (secretvoice.bandcamp.com)

Collected, as the title suggests, brings together the 17 songs the New York-based screamo band recorded during their short yet active existence from 1997-2000. Though Screamo shares links to Punk, Hardcore, Emo, and other forms of extreme music, it makes my list of the worst sub-genres music has ever developed. Its dissonant sound and caustic screams are not conducive to most ears. One might liken Screamo's origins to mental illness and prolonged stays in mental facilities. To each their own, considering Saetia had quite a following in their day and were forerunners of the Screamo scene. The 17 songs featured here represent the band's entire recorded history. Here's your chance to look back on the Satias' time. Now available on vinyl for the first time since 2016 and housed in a durable gatefold cover. Due to the vinyl version being temporarily out of stock, IÃƒÆ’Ã‚Â¢ÃƒÂ¢Ã¢â‚¬Å¡Ã‚Â¬ÃƒÂ¢Ã¢â‚¬Å¾Ã‚Â¢m including a link to a bandcamp where you can listen before choosing to download, or wait until it becomes available.

DFL - My Crazy Life (trustrecordscompany.com)

Holding the deluxe edition reissue of the 1993 release of "My Crazy Life" feels somewhat strange, as I had completely forgotten the existence of the original CD I owned. I wonder how it became so mangled before being passed on to a buddy of mine? Formed in 1991 and featuring both Adam Horowitz (Ad Rock) and Michael Diamond (Mike D) of the Beastie Boys, and a cast of characters that once boasted Brian Baker (Where do I start?), and released via the Beastie's Grand Royal label, the 27 track expanded version features the original album and a live show performance. It was underappreciated at the time of its release; listening to it now is rewarding as it shows Horowitz and Diamond's love of and appreciation of their hardcore/punk roots, especially if you love first-wave hardcore acts and surf punk. "My Crazy Life" is a good go-through, a fun racket that never takes itself too seriously. As a bonus, the deluxe reissue also includes a 20-page, full-color oral history, a massive, full-color 'zine packed with unpublished flyers, and, the piece de resistance: a complete, totally unreleased live show that was recorded at a huge party at G-Son Studios the day after album tracking was completed. The fanzine's flyers show that DFL played with a lot of amazing bands such as Fugazi, Pennywise, Strife, and the legendary yet often overlooked Wool.

Samuel S.C. - "94-95" (samuelsc.bandcamp.com)

A good reissue or, in this case, discography allows you to relive and cherish the moment you first heard an artist. Or, in my case, saw them perform live. If not for tagging along with the long-forgotten band Baby Gopal for a show at Connecticut's Tune Inn, I might have missed out on the band Samuel. Now we have their firsdt new music in 27 years. I thought it might be fun revisiting this rather sparce seven-song discography. Listening to Samuel for the first time in years, maybe decades, I'm reminded of the uplifting movement and drive that made indie music and college rock such an essential part of taking the next step. Downings' voice carries weight, adding depth to lyrics about life and its varied experiencesÃƒÆ’Ã‚Â¢ÃƒÂ¢Ã¢â‚¬Å¡Ã‚Â¬ÃƒÂ¢Ã¢â€šÂ¬Ã‚Âguitar leads and rhythms crash and cascade, adding muscle to each song. The production, something I don't often mention, is excellent. Though their initial recordings are scant, the overall output is impactful. Each piece helps to make this a rewarding return to my younger years.

The Chronics - Do You Love the Sun? (Spaghettytown Records; chronics.bandcamp.com)

As another Summer descends over the horizon, we grab hold of whatever remains, hoping to save what we can for those cold, sunless days ahead. The Chronics "Do You Love the Sun' sounds like an album written to welcome the first days, rays, and waves of the season. Ten songs of upbeat guitar-driven Italian pop rock with influences ranging from the Ramones to those syrupy beach anthems I recall hearing on Saturday morning cartoons in my youth. Each piece leaves a lasting impression with upbeat and poppy chords and rhythms. My favorites of the bunch: The opening track "Surf Town" and "I Can... I Go Home" put the gas n the tank. For those lacking knowledge of Italian power pop, you're closing yourself off to a world, or in this case, a country bursting at the seams.

Cinema Cinema ÃƒÆ’Ã‚Â¢ÃƒÂ¢Ã¢â‚¬Å¡Ã‚Â¬ÃƒÂ¢Ã¢â€šÂ¬Ã…â€œ Mjolnir (nefariousindustries.com)

There I was, speaking to a fellow music nerd, running out of adjectives to describe Brooklyn's Cinema Cinema and trying my hardest not to scare the Bejeezus out of her. It would seem like demons and tortured spirits were racing out of my jowls while simultaneously trying to convince her they don't eat babies or burn down churches. Just days earlier, I was handed an advance of the CC's upcoming release, "Mjonlnir." My approach was tepid at best. After more than ten years of love and admiration for Ev and Paul, it would seem that there would be a slow decline or middling of those creative juices. Upon further investigation, however, that revelation proved untrue.

Before we go any further, try naming an act, major or independent, that's still evolving and developing more than ten years into its existence and youÃƒÆ’Ã‚Â¢ÃƒÂ¢Ã¢â‚¬Å¡Ã‚Â¬ÃƒÂ¢Ã¢â‚¬Å¾Ã‚Â¢re bound to come up empty. Is it possible that Brooklyn's Cinema Cinema coincided with releasing their latest album a week from my birthday and on the exact anniversary of my wedding? The world may never know.

As in the past, a deep dive into any CC noise rock experimentation can be likened to a dark psychiatric venture into the soul of a sociopath, an investment in time and research into the most profound thoughts. As usual, Ev and Paul have brought in some help with the producing prowess of long-time friend Martin Bisi, while coming full circle by adding Thor Harris of the Swans (a band that has always influenced Cinema Cinema's sound) on synthesizers. "Mjonlnir." is a record that demands to be listened to in its entiretyÃƒÆ’Ã‚Â¢ÃƒÂ¢Ã¢â‚¬Å¡Ã‚Â¬ÃƒÂ¢Ã¢â€šÂ¬Ã‚Ânothing against singles or sampling tracks, it's just that these eight offerings deserve your full attention. I might be going back more decades than warranted, but "Mjonlnir" made me wonder: What if John Carpenter directed "Apocalypse Now?" Like Ev Gold once told me, "You have to surrender to the trip."

Is it mere coincidence that the release of Cinema Cinema latest album happens a week from my birthday and on the exact anniversary of my wedding? The world may never know. Regardless, I highly recommend your investing the time and whatever brain damage you might suffer while taking that trip. "Mjonlnir." Is more than music. ItÃƒÆ’Ã‚Â¢ÃƒÂ¢Ã¢â‚¬Å¡Ã‚Â¬ÃƒÂ¢Ã¢â‚¬Å¾Ã‚Â¢s art at its conceptual halcyon.

INTENTION! - Brand New Story (Beachimpedimentrecords.bigcartel.com)

While I may not be the person you would turn to for advice or knowledge of Japanese hardcore, my understanding is that hardcore music is an international movement that, by all means, affects the entire universe. Attending a couple of Japanese hardcore matinees while visiting Tokyo might also get my foot in the door upon introducing myself to Intention and giving the seven-song vinyl version of "Brand New Story" (originally released in February 2023 on CD) a thorough go-through. All of the usual components of hardcore are there: The breaks, busts, and aggression are upfront and present. While "Brand New Story" lacks that immediate impact that might set them apart from their peers, second and third listens were more rewarding.

Redemption '87 - S/T (25 Year Reissue) (newagerecords.bandcamp.com)

Every now and then, an older man like myself needs to replenish his record collection with a new, shiny, and in this case, blue-with-white-splatter piece of vinyl. As a Token Entry super fan, finding Timmy Chunks (Token Entry vocalist) had a band on the opposite coast and playing guitar, I just had to see what that was all about. Featuring Chunks and Eric Ozenne, Redemption ÃƒÆ’Ã‚Â¢ÃƒÂ¢Ã¢â‚¬Å¡Ã‚Â¬ÃƒÂ¢Ã¢â‚¬Å¾Ã‚Â¢87 were a lot more than just a ÃƒÆ’Ã‚Â¢ÃƒÂ¢Ã¢â‚¬Å¡Ã‚Â¬Ãƒâ€¦Ã¢â‚¬Å“band with former members ofÃƒÆ’Ã‚Â¢ÃƒÂ¢Ã¢â‚¬Å¡Ã‚Â¬Ãƒâ€šÃ‚Â¦ÃƒÆ’Ã‚Â¢ÃƒÂ¢Ã¢â‚¬Å¡Ã‚Â¬Ãƒâ€šÃ‚Â Choppy riffs attached themselves to raw vocals reminiscent of the energetic punk noise of the East Bay at the time. Redemption '87 deserves recognition as they offered a healthy balance of '80ÃƒÆ’Ã‚Â¢ÃƒÂ¢Ã¢â‚¬Å¡Ã‚Â¬ÃƒÂ¢Ã¢â‚¬Å¾Ã‚Â¢s hardcore timing and urgency with East Bay punk rhythms and energy. "At the Hand of Our Disease" and "From Experience" remind me of why Redemption '87 appealed to me. While "A Solution" perfectly displays a connection to their East Bay home Most notable and something I might have overlooked or forgotten the first time are the outstanding and anthemic covers of Antidote's "Something Must Be Done." and 7 SecondsÃƒÆ’Ã‚Â¢ÃƒÂ¢Ã¢â‚¬Å¡Ã‚Â¬ÃƒÂ¢Ã¢â‚¬Å¾Ã‚Â¢ "I'm Gonna Stay Young Until I Die." The bandÃƒÆ’Ã‚Â¢ÃƒÂ¢Ã¢â‚¬Å¡Ã‚Â¬ÃƒÂ¢Ã¢â‚¬Å¾Ã‚Â¢s debut is now available on 175 gram black-and-white marbled and 205 gram blue-with-white splatter vinyl. I, myself, chose the latter.

Don't Sleep - See Change (End Hit Records)

I've never met Dave Smalley, but if I did, I might thank him for providing me with over four decades of life-affirming music. At this point in our punk rock lives, is there any reason to doubt or question any band or project that includes Dave Smalley? That's a question I found myself asking when approaching Don't Sleep's new album and second full-length, "See Change." Not that I go around rating albums as they do on Pitchfork (not knocking them in the least.) But "See Change' without overthinking is a strong 10. With Smalley's vocal gift of expressing power without ever forsaking melody, there's no reason to approach "See Change" with any trepidation. Deep Sleep features accomplished punk musicians Tom McGrath, Garrett Rothman, Tony Bavaria, and Jim Bedorf. The nine-song affair opens with "Harrison Graves" before effortlessly coalescing into "Promises Made." You're convinced this isn't your run-of-the-mill. "Dead on the Inside" follows, teasing that this will be your favorite track, deserving a cherished spot on your next mix tape. (Do people make those anymore?) "Outside In" quickly finds itself in the favorite track on the album. Eventually, you realize that every damn song on this album is your favorite. Worth mention and praise is Smalley's cover of Tom Petty's "Running Down a Dream." Having heard a few of his covers of past classics has cemented my opinion that Smalley can do it all. At this stage in our lives, it becomes rare when a record scores an absolute ten on my rating scale. However, "See Change" does just that, reminding me of a time when we listened to albums as a whole and built a certain intimacy with music.

Graven Image - Studio Sessions '82-'83 (Beach Impediment Records)

For a time, the act of reissuing or bringing unreleased material to life was exciting. However, the practice has resulted in countless letdowns, drawing comparisons to Hollywood's obsession with reboots. Graven Image's "Studio Sessions '82-'83" avoids such disappointment as it perfectly reflects many of the best elements of early American hardcore: raw, fast, and vital. The album features 22 tracks, from the band's 1982 "Your Skull is My Bowl" and 1983's "Kicked Out of the Scene" sessions, along with a few unreleased gems. The included 12x12" booklet helps reflect on and tell the story of a band worth recollecting. Show flyers include the likes of Honor Role, Minor Threat, The Necros, and countless others, to illustrate the importance and status of the rarely mentioned Richmond, VA band. I want to note that I originally downloaded the MP3s. However, the material's overall impact inspired me to invest in the vinyl version.

The Melmacs - Good Advice (Spaghettytown Records)

Hailing from the Leipzig, Germany, the Melmacs' debut is about as good as it gets, 10 songs that immediately impress with a bouncy, upbeat sound whose origins and influences most likely spring from late 70's and early 80's pop punk and power pop. The lively and energetic elements in "Good Advice" are essential ingredients that make each of the ten songs uncomparably appealing. Leads, rhythms, and keys lay out a well-rounded and well-executed collection of songs, that inspire and instigate listeners to react to every lyric, note, and beat. Though, by no means would you associate The Melmacs with ska, lead singer Bimmi's raspy tones can easily be compared to that of the Intrrupters Aimme Allen. Bimmi, Remo, Max, and Connie have released an album that warrants countless listens and high praise. "Good Advice" easily makes my "Best of 2023" list.

Rancid - Tomorrow Never Comes (Epitaph Records)

It's mind-boggling to listen to new Rancid recordings in 2023. Yet, here I am, staring at my calendar, doing just that. Rancid formed in 1991 out of the ashes of the short-lived but highly influential Operation Ivy, and this is their first release since 2017. Although "Tomorrow Never Comes" doesn't explore any new territory or offer surprises, true to form Rancid navigate through 16 songs that showcase the band's knack for accessible punk tropes. ÃƒÆ’Ã‚Â¢ÃƒÂ¢Ã¢â‚¬Å¡Ã‚Â¬Ãƒâ€¦Ã¢â‚¬Å“Tomorrow Never ComesÃƒÆ’Ã‚Â¢ÃƒÂ¢Ã¢â‚¬Å¡Ã‚Â¬Ãƒâ€šÃ‚Â features all the signature elements that made you love or hate the East Bay act. Armstrong and Frederiksen still carry the same chemistry that made the band relevant over thirty years after their coming together, guttural vocals meet fast-paced punk leads and rhythms addressing relatable blue collar themes. Not bad. Not bad, at all.

The Donnas - Early Singles 1995-1999 (Real Gone Music)

The recent Record Store Day delivered several vinyl releases that caught my eye and eventually took control of my attention, the most notable one being The Donnas' "Early Singles." Whether you remember the Donnas from their major label hit "Take it Off." or for their time as pop punk favorites with independent legends Lookout Records, it is hard to think of them in any terms other than icons. However, if you've been living on a distant planet and are unfamiliar with the Ramonesesqe goddesses, "Early Singles 1995-1999" is your chance to get the bands' Cliff Notes, with 14 singles from their early indie label recordings. The Donnas' fast, upbeat, up-tempo sound was, to say the very least, addictive.

These fourteen non-LP tracks more than vindicate its $29.99 list price. The covers of Alice Cooper, KISS, and Reo Speedwagon are noteworthy, adding to the energy and bombast of their originals. The record includes images, liner notes, and a whole lot more. Its limited production of only 2,000 copies might impede your ability to get your hands on the gold vinyl version, which will take some serious hunting. However, I've already seen a CD version and hope for further pressings.

Audio Karate - ÃƒÆ’Ã¢â‚¬Å¡Ãƒâ€šÃ‚Â¡OTRA! (Iodine Records; deathwishinc.com)

Southern California's Chicano pop-punk act Audio Karate (not to be confused with the Massachusetts Karate) returns to form with an eight-song collection of rare and unreleased material that, in my case, serves as an introduction to the band and its sound as we await a new release (due June 30th.) These eight tracks from the past serve as an introduction to a band I might have missed the first time. "Lovely Residence" introduces the band's sound and style, accurately reflecting pop punk's height of popularity. Loaded with hooks, melodies, angst, and lack of any danger associated with punk rock. Comparable yet not as well known to the many pop punk acts of that era, Audio Karate originally broke up in 2007, only to resurface in 2009. Overall, the songs on "ÃƒÆ’Ã¢â‚¬Å¡Ãƒâ€šÃ‚Â¡OTRA!" are a good look back on the band's past, engaging and seemingly perfect for a raunchy late 90's teen movie.

Merauder -'93 demo (Reaper Records; revhq.com)

The continuous draining of the past by long-dormant hardcore bands continues, this time with Brooklyn-based crossover act Merauder. Reissues have become a bank account-draining affair that refuses to release us from the past. This one features four songs, with "Fear of Sin" listed as a bonus track. The music might appeal to fans of tough guy crossover or straight-up metal bands with connections to hardcore, such as Biohazard. These songs will always sound awful lacking any personal appeal to someone like me who saw bands like Merauder as a gateway drug to the thug core elements that engulfed the movement.

Merauder - The Minus Years (Upstate Records; revhq.com)

A collection of unreleased studio recordings and the bands' '93 demo (which, by the way, is reviewed separately above.) Each of these is available for the first time on vinyl, featuring frontman Javier "Sob" Caprio (AKA Minus.) My reaction to hearing MeraudersÃƒÆ’Ã‚Â¢ÃƒÂ¢Ã¢â‚¬Å¡Ã‚Â¬ÃƒÂ¢Ã¢â‚¬Å¾Ã‚Â¢ earliest recordings is just as bad, if not worse, than seeing them live at CBGB's or experiencing their 1995 full-length "Master Killer."" Listening to Merauder some 30 years later results in an even worse reaction. Best compared to the metalcore acts of the time, their music, lyrics, and tough-guy persona never appealed to me. Merauder will always remind me of the violence that brought CBGB hardcore to a temporary yet memorable end.

Hirax ÃƒÆ’Ã‚Â¢ÃƒÂ¢Ã¢â‚¬Å¡Ã‚Â¬ÃƒÂ¢Ã¢â€šÂ¬Ã…â€œ Raging Violence (armageddonlabel.bandcamp.com/)

Time, memory loss, and clever publicists have a gift for altering the past and reshaping our memories. Using words such as "rare," "legendary," and my favorite hook line - "limited to..." The truth of it all is that nostalgia is expensive, and the cost is more than a monetary one. It attempts to rob you of your intimacy and often stagnates your ability to move forward. In listening to "Raging Violence" by L.A.'s long-forgotten thrash band Hirax, that sentiment takes center stage. "Raging Violence" marks the reissue of Hirax's 1985 album, whose purpose was to "bridge the gap between straight-up fans of traditional metal and the embryonic crossover hardcore/punk era that was evolving in 1985."" The reportedly legendary Hirax illustrates hardcore's second wave attempt to bring thrash, speed metal under the sub-genres umbrella. Successful or not at the time, I could not find common ground in any of these 14 entries, often finding these songs comical and unintentionally laughable. Think Dungeons & Dragons finds a soundtrack while lost in a fictional medieval forest. The vinyl version is - of course - limited to 500 copies.

Hirax - Hate, Fear and Power (armageddonlabel.bandcamp.com/)

A reissue of the second album of LA's thrash metal band Hirax is possibly worse than the band's debut. Faster, more intense, and relentless, yet... worse. In listening to these eight tracks, I can't help but think I'm not the best person to judge or review thrash metal. That, or I'm just sick of hearing less-than-worthy reissues. Like Michael Corleone says in Godfather III, "They keep bringing me back in." The vinyl version is limited to 500 copies. Approach with extreme caution.

There Were Wires - S/T Reissue (Iodine Records; deathwishinc.com)

Drawn in by the album's compelling cover art and the opportunity to catch lightning in a bottle by getting my hands on something I might have missed when it was initially issued, I proceeded with tempered curiosity to check out this reissue. Formed on Martha's Vineyard in 1999, There Were Wires found a home in the Screamo section of hardcore punk. Their self-titled release was and is a collision of discordant cacophony. The screamo dissonance immediately reminded me of the band Orchid, with influences coming from better-known acts such as Portraits of the Past and Converge. This album is a reissue of their debut full length and is being made available on vinyl for the first time. The deluxe edition features 15 songs, four of which are from their "God City" demo. Sadly, perhaps due to the fact that I take no pleasure in screamo core, none of whatÃƒÆ’Ã‚Â¢ÃƒÂ¢Ã¢â‚¬Å¡Ã‚Â¬ÃƒÂ¢Ã¢â‚¬Å¾Ã‚Â¢s presented here positively impacted me, although it certainly might appeal to those who camp in the screamo side of the woods.

Poor Lily - Toxic Envelope (poorlily.bandcamp.com)

When my editor asked me to review the latest EP from this New York/Connecticut rock/punk trio, I dialed back to a review of the band's punk rock opera "Dirt on Everyone" from my old blog. Whether or not I or my partner in crime Dave penned the review remains a mystery. Looking back, I think we both liked it. So here we are in the Spring of 2023, and a moment to catch up with Poor Lily arrives. "Here Come the Waves" opens their new four-song EP, setting the pace for an impressive set of aggressive assaults that bond speed with accuracy as everything comes together and cuts right to the chase. "Police Take Notice" follows with similar results: Fast and to the point. As compelling and focused as the entries mentioned earlier feel, "Concealed Carry" and "Golden Age of Idiocy" add layers to Poor Lilly's output while giving their musicianship and songwriting depth. "Toxic Element" marks a leap forward in Poor Lilly's often frenetic approach, adding layers and texture to what is already an impressive sound.

Erik Core - May Day (Rock*Cult Records)

While not a household name back East. Erik Core's imprint on California's East Bay punk scene cannot be denied. The 16-song album opens with the reflective "Ways and Means," a musically well-rounded song that will remind you of the tremendous yet less explored solo work of Joe Strummer, Tim Barry (Avail,) and the widely respected Frank Turner. "May Day' follows and ups the ante. By now, Erik Core and "May Day" have defined themselves as a busker's tale of Americana, and one that has either been lost or hidden deep in the interior. All through "May Day," the listener can't help but feel swept up by the intimate nature of these songs. Think of a punk rock version of Woodie Guthrie with the storytelling element you'd expect from Johnny Cash. The laid-back acoustics and whistley rhythms are praiseworthy. While punk's history of folky, stripped-down guitar rock is a surprisingly crowded field, Core stands firmly on his feet, delivering authentic, storied folk-punk that immediately resonates with the listener.

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Crime Scene - Dark Tidings (Reality Records)

I find it pleasing to go into a review with no expectations or clue of what's coming down the road. Listening to "Crime Scene" makes you feel like you just won tickets to an 80's Hardcore-meets-Motorhead guitar clinic. Five songs mix hardcore, metal, and hard rock, with some of the best guitar parts I've heard in recent digging. There's a point in the song "Camello" where the pace slows down just a notch, and a more sinister vocal enters the fray, darkening the mood with its ghoulish vocalization. Though I left this session with little to no information regarding this band or its release, I couldn't help but want to pass it on to you.

Reality Records

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Black Valley Moon ÃƒÆ’Ã‚Â¢ÃƒÂ¢Ã¢â‚¬Å¡Ã‚Â¬ÃƒÂ¢Ã¢â€šÂ¬Ã…â€œ It Makes Magick (blackvalleymoon.bandcamp.com)

On what is, by far, the most uneven and lopsided EP I've heard in years, ÃƒÆ’Ã‚Â¢ÃƒÂ¢Ã¢â‚¬Å¡Ã‚Â¬Ãƒâ€¦Ã¢â‚¬Å“It Makes MagickÃƒÆ’Ã‚Â¢ÃƒÂ¢Ã¢â‚¬Å¡Ã‚Â¬Ãƒâ€šÃ‚Â left me wondering what made the wheels fall off and will they ever be replaced? Formed in 2019 by Down By Law bassist Sam Williams, this Florida garage-rock entity parlays storytelling elements of punk, country, the blues and rock nÃƒÆ’Ã‚Â¢ÃƒÂ¢Ã¢â‚¬Å¡Ã‚Â¬ÃƒÂ¢Ã¢â‚¬Å¾Ã‚Â¢roll admirably at first, feeling like something that would perfectly fit on Jack White's Third Man Records. While that garage rock element is dominant, one can also hear elements of horror-punk weirdos The Cramps. BVMÃƒÆ’Ã‚Â¢ÃƒÂ¢Ã¢â‚¬Å¡Ã‚Â¬ÃƒÂ¢Ã¢â‚¬Å¾Ã‚Â¢s choice to cover Lords of the New Church's classic "Russian Roulette" and the Billy Idol standard "White Wedding" reflects where the band's tastes might dwell. However, while the band's rendition of "Russian Roulette" is damn good, their take on Idol's "White Wedding" comes off like a sloppy cover band's drunken performance at a high school reunion, signaling the end of what at first seemed promising and the beginning the EPÃƒÆ’Ã‚Â¢ÃƒÂ¢Ã¢â‚¬Å¡Ã‚Â¬ÃƒÂ¢Ã¢â‚¬Å¾Ã‚Â¢s descent into a recorded abyss.

As forewarned, all that is good or encouraging about this EP comes crashing down on the cover of ÃƒÆ’Ã‚Â¢ÃƒÂ¢Ã¢â‚¬Å¡Ã‚Â¬Ãƒâ€¦Ã¢â‚¬Å“White WeddingÃƒÆ’Ã‚Â¢ÃƒÂ¢Ã¢â‚¬Å¡Ã‚Â¬Ãƒâ€šÃ‚Â and the final two songs, "Curse of the Fairchild" and "(Oh Please) Monkey Don't." Though these two entries might best reflect Dark Valley MoonÃƒÆ’Ã‚Â¢ÃƒÂ¢Ã¢â‚¬Å¡Ã‚Â¬ÃƒÂ¢Ã¢â‚¬Å¾Ã‚Â¢s intentions, they put a nail in the coffin for me. Ultimately, this listener quickly grew tired and frustrated with what was being attempted. Only time will tell if, hopefully, more focused music awaits.

Scraps - Demo '85 L.P. (Refuserecords.bandcamp.com)

Listening to '80s Hardcore, no matter where it originates, can and usually is a great pleasure for me. Knowing to apply a generous heaping of salt regarding the often raw and scathing elements of the sub-genre's earlier days can help digest what can often be a bitter pill. These early recordings of the French Hardcore band "Scraps" include three different versions (a 3-track tape, a 6-track tape, and a 7-track tape). Referred to as "legendary," I can't help but want to cut off the hand of whoever decided to pen such an overstatement. The vinyl version contains all the tracks, admittedly raw, chaotic, and primitive. Listening reminded me that some things are best left forgotten, buried, or in this case, burned. Sounding primitive and less than rudimentary, navigating through these songs produced sub-zero rewards and a heavy dose of regret.. Unless you're an archeologist looking to add a long-buried bone to your collection, and even then. I'd recommend digging somewhere else.

Pillsbury Hardcore - Ghosts of Straight Edge Past Black (Black Claw Records)

As 80's hardcore re-issues continue to surface, less than stellar material is bound to flood the pool. As many "long out of print" or "available for the first time on vinyl" editions continue to surface, the re-issue field will surely suffer. Which, unfortunately, brings me to Pillsbury Hardcore and "Ghosts of Straight Edge Past." I recall hearing Pillsbury Hardcore when I first began consuming and hoarding any hardcore/punk music my young, curious, and somewhat obsessed newbie self could get his hands on. Whether or not I cared for southern California's Pillsbury Hardcore's take on hardcore and straight edge, in general, was lost among the decades of better things to come. Fast forward 35 or so years. I can't blame the metalheads at my high school for mocking me and my questionable choices. In listening to "Ghosts of Straight Edge Past," I'm immediately reminded of how dry the Hardcore re-issue well has become. While the bratty, juvenile view of the songs is acceptable, musically and especially vocally, "Ghosts..." is a tough pastry to swallow. One that a poster, all the stickers, flyers and bursting color vinyl in the world couldnÃƒÆ’Ã‚Â¢ÃƒÂ¢Ã¢â‚¬Å¡Ã‚Â¬ÃƒÂ¢Ã¢â‚¬Å¾Ã‚Â¢t improve. As far as 80's hardcore music, culture, and the message straight edge sought to convey, Pillsbury Hardcore's contribution lacks any substance or reward. While one can't blame a band for wanting to document and share its legacy, there are many times when things are better left to fond memories of the past and a pocketful of cool stories.

COLD AS LIFE - "In Memory of Rodney A. Barger 1970-1993 (A389 Recordings)

Detroit, MI Hardcore act Cold As Life immediately remind me of the tough guy bands that grew out of the late '80s, then knuckled their way into the '90s and beyond. The album's title, "In Memory of Rodney A. Barger 1970-1993," refers to the tragic 1993 murder of front man Rawn Beuty (Rodney A. Barger.) Available for the first time on vinyl, "In Memory of..." chronicles the band's early years in an impressive, chronologically remastered document. The album respectfully explores the band's legacy through images, lyrics, artwork, and more. Amongst the recordings is an unreleased track. Whereas Detroit has been a hub for high-octane rock bands throughout history, the same can be said for hardcore. Though my introduction to Cold As Life was dicey. I was quickly won over and significantly impressed with these twenty-plus songs. For fans of Negative Approach, Slapshot and all that raw and angry darkness.

Get it Here

At All Cost - Nothing Comes Easy (Trip Machine Laboratories; tripmachinelabs.limitedrun.com/)

Memories are often crucial when it comes to reissues of any kind. In the case of Al All Cost's "Nothing Comes Easy," recalling where I was and my reaction to that first demo, and the friendship I later formed with the band's drummer, remain after more than thirty years; each played a significant part in my pre-ordering this vinyl reissue. In the realm of the unexpected, the thought of New York Hardcore unit At All Costs demos finding their way to vinyl more than thirty years after their release are, to say the very least, surprising. Strange how I recall listening to AAC's demo at a friend's house, that shadowy image of a skateboarder on its cover, and a review included in what I believe was the third issue of my fanzine. Formed in 87' while attending high school, the Rockland teens, influenced by their recent discovery of Hardcore, formed the band seeking to contribute to what was inspiring their hearts and minds. Pre-Ordering a copy of the vinyl record and taking advantage of the opportunity to preview the demos through Bandcamp allowed me to sit and look back at the whats, wheres, and whys of the era. At All Cost played fast-paced and positive-leaning Hardcore that, while reading like many of the more positive leading acts of the time like Youth of Today, sounded more like bands such as Absolution. Housing sixteen songs in all. "Nothing Comes Easy." accurately depicts a time when New York Hardcore was both growing and evolving into something new. Along with their '88 and '90 demos, the reissue includes an exceptional pre-Halloween performance on the legendary WNYU Crucial Chaos radio show. For those who might not be familiar with the show, it was an essential college radio show that was a catalyst for many bands in the punk and hardcore family. Being invited to play live on the show was a significant step in promoting your band and maybe giving a shout-out to supporters. While I no longer have the original demos to compare, the production quality sounds excellent. Favorite songs include but are not limited to the first version of "Decisions"(there are two,) "Hidden Lies," and due to its vicious percussion and vocal followthrough, "Walls Around Me." Overall, a must for fans of '80s and '90's Hardcore. Vinyl color options vary. I highly suggest pre-ordering your copy in order to get the one you want.

Slugger - S/T (LSM Vinl/Pirates Press Records)

California's Slugger throw their boots into the ring with their six-song self-titled 10-inch. Self-described as "pure, unadulterated, skinhead rock 'n' roll that is no mess, no fuss, brick-wall oi," you should be fully aware of what you're getting before you place your order. Not to put a negative light on the band, culture, or music, but the vocals sound muffled and pushed to the back, and it's impossible to ignore the lowbrow, dumbed down lyrics. Slugger put forth a shit show that would be quickly forgotten if not so incredibly awful. I was not the least impressed. Representing many of the tropes and characteristics of Oi music and Skinhead mantras, the music and message within are simplistic and not the least bit interesting.

Antagonizers ATL - Working Class Street Punk (antagonizersatl.bandcamp.com)

Described as Atlanta's premier Oi!/streetpunk outfit, the Antagonizers stay close to the roots of Oi!'s origins without coloring outside the lines. Despite that, "Working Class Street Punk" is sharp and worthy of raising a pint in support and unison. The eleven songs provide their share of hooks, sing-alongs, and chants, music that reminds one and might be inspired by Sham 69, the Business, Rancid, Dropkick Murphys, and even Stiff Little Fingers. Favorite songs include, but are not limited to, the opening track, "Pressure," "This Song's for You," and "Bad Situation."

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Nabat - 1981 Laida Bologne Demo (Puke n Vomit Records)

It's not often that I listen to early European or, to be more specific, Italian hardcore other than England's Discharge or Italy's Raw Power. However, with the recent reintroduction and indulgence in bands such as GBH, The Exploited, Heresy, and Broken Bones, I've found a reborn consciousness and appreciation for European punk and hardcore, Exploring unheard and undocumented acts such as Italy's Nabat and their 1981 demo seems only natural. Sadly, most lost recordings would best be left buried. While muddling through these earliest recordings of the band, you'll get a sense of raw yet not intense punk rock that draws more from street-punk and early Oi. Featuring 14 songs in all, some of which are live, it all equals too much of a bad thing. In plowing through this, I never once felt there was anything here worth revisiting or celebrating,

Available Here

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The Clothespins - Basement Boys 1979-1981 (PNV Projectile Platters)

New London, Connecticut's The Clothespins are a long-forgotten punk band from the often-overlooked Northeastern section of the United States. Basement Boys... features 14 songs that revisit their 1979 and 1980 demos, uplifting and bouncy punk that satisfies from beginning to end. Soundwise, The Clothespins took on a first wave punk meets early power-pop sound that featured clever lyrics, edgy hooks, and melodies that could be compared to those of the Buzzcocks. There's a lot to be had here, including a somewhat snotty and spastic cover of the Beach Boys "Barbara Ann." In listening to these unearthed demos. I can't help but wonder why the Clothespins hadn't found a nationwide audience or even taken to a long road of relative obscurity. Luckily, there's an insert providing some color to the bands' background and history, even featuring several flyers.

Available here

Orange 9mm - S/T (Revelation Records)

While 1990 brought us arguably the last iconic NYHC record with Burn's self-titled EP (featuring graffiti writer and New Breed fanzine and tape compilation co-founder Chaka 'Mailk' Harris,) 1993 brought us the full-length debut of post-hardcore pioneers Quicksand. Then 1994 delivered the S/T EP by Orange 9mm, which deserves both further investigation and high praise.

Formed in 1993 by Chaka 'Malik' Harris (Burn), Chris Traynor (Another Wall, Fountainhead), Eric Rice (who would go on to play with H2O,) and Larry Gorman (Reach Out, Fountainhead, Head Automatica,) anyone remotely close or aware of how post-core was emerging and evolving around them had high expectations.

As far as vinyl reissues go, Orange 9mm's four song self-titled debut EP was and is a post-core staple that deserves praise and company with such classics as Quicksand's Slip and Burn's self-titled debut. From the moment the needle hits the record, and vocalist Chaka Malik screams, "What's left for you when you can't find nothing special?," you know you're in for something fresh, unique, and quite impressive. Harnessing the powerful anger and energy of hardcore, the technicality of metal, and the bounce, rhythm, and flow that a classic hip hop, Orange 9mm served up a hybrid of infectious sounds long before the term became reserved for the Nu-Metal acts dominating the airwaves. Orange 9mm would release three albums with EastWest, Atlantic, and Ng records, but none would entirely light the fuse that their debut did. Featuring four songs, their debut, at least to my ears, is the band at its creative and sonic apex. Don't miss out.

RevHQ

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Pariiah - Swallowed By Fog

As I look out my window these days, I can't help but think how inspired director John Carpenter would be by the cloak of fog and smoke we West Coast residents have gotten used to experiencing. Well, folks, dark times call for dark, angry music, and as the overwhelming majority of people know, we're neck-deep in the dark ages.

With personnel that have played in and contributed to bands such as Devoid of Faith, Milhouse, Kill Your Idols, Snag, Mothman, The Nolan Gate, Das Oath and more, Pariiah gives you several individuals who have made notable contributions to hardcore, metal and extreme music.

The four-song set opens with "Message of Pain," a terrifying exorcism that nourishes the soul while completely devouring it. "Steady Flow of Blood" follows, leaving a palpable impression that can only be described by its namesake. "Red Hour" deserves praise and countless returns due to its dark yet hooky guitar riffs. The last and final entry, "Swallowed By Fog/Outro," stands as my personal favorite as its riffs, rhythms, and ominous vocals wrap and sum up how this completely took hold of my attention while having me wish for more.

Pariiah

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You and I – Complete (Repeater Records)

Though countless music trends have not aged well and are best forgotten and seldom revisited, the screamo scene of the mid to late '90s will always be deserving of finger-pointing and joyous mockery. Along with mall punk and people calling themselves "Emos.". Screamo represented something that many punk and hardcore alumni couldn't or wouldn't quite find common ground.

Which brings me to New Brunswick, New Jersey's You and I, and "Complete." A complete discography featuring twenty-five songs from the bands two albums, 1997's "Saturday's cab ride home." 1999's "The curtain falls." Their self-titled 7" and the "Within the frame." CD EP.

As much as I and many others might feel drawn to discographies of lesser-known acts, there has to be a common thread that solidifies the bond. As someone who never felt drawn to screamo hardcore bands. I had an incredibly hard time making my way through these songs. In comparison, I do find myself appreciating the almost mathematic technicalities of the music. I couldn't help but feel drowned by the cacophony of the vocals. If you're a fan of the screamo style and bands such Orchid, then go ahead, take a swim. I, on the other hand, wish never to hear this again.

Available Here

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The Successful Failures - Pack Up Your Shadows

While you might not have heard of these New Jersey indie rockers, The Successful Failures have been active since 2005. Long enough to fill a bio with more information than anyone would ever care to know or have the time to read.
The band's eighth album to date features songs that include influences such as the blues, a heavy dose of southern rock, and 70's style AOR dad rock with a heavy Country music influence. The further I got into their eighteen-song album, the more I became unable to relate to what sounded like a tired bar band taking the stage at a local dive or V.F.W. hall just minutes before the bartender announces "last call!"
In the end, TSF's "Pack up your shadows" didn't resonate with me, sounding like nothing more than a weathered old bar band. Not terrible, but nothing I'd consider taking home and throwing on the turntable.

Available Here

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Gunn-Truscinski Duo – Soundkeeper

On their fourth album to date, this one a double album, the duo of Gunn and Truscinski take us on a long and often torturous trip of sounds that can only be likened to a bad batch of acid. Featuring twelve songs that are both atmospheric and lofty in composition, the sounds on Soundkeeper seemed destined to be dismantled and used sporadically as samples for a cheesy sci-fi flick,
s ongs that never once held my attention or admiration and only served to remind me why I never gained an appreciation for prog-rock. How do talented and gifted musicians so often make boring or terrible music?

In laboring over these recordings, one can only wonder, is there an audience for this, or is it just twirling-the-knobs experimentation for its own sake? With songs like "Pyramid Merchandise." and "Soundkeeper" eclipsing the ten-minute mark, anyone with even the slightest attention disorder issues will be running for cover. Listening to Gunn-Truscinski's Soundkeeper reminds me that, while I always respected and understood the importance of science, I never felt the urge to apply it to music.

Available Here

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Fake Nature - Stop Worrying and Love the Bomb (Big Neck Records)

Stop Worrying and Love the Bomb delivers fast-paced, upbeat, and uptempo pop-punk that feels immediate yet sustainable. I can't help but admit to undervaluing the record due to the album cover photo and title, which I still find a bit goofy.
Musically, Stop Worrying and Love the Bomb has a relentless pace that reminds me of the Ramones. Fake Nature has an approach that is both bombastic, and relatable; imagine The Avengers mentoring the Distillers, or influences such as The Donnas, the Muffs. And perhaps, the Runaways.
While songs such as "Perverse Mortgage" and the final track, "Let Dog Sort 'em Out" became instant favorites, there are numerous excellent songs here, including the hooky and powerful "Treatment Bound" and the bratty, yet strength-exuding "The Walking Red," more than deserving of honorable mention. All in all, there's not a weak entry to be found on this album. Fake Nature bite the term "pop-punk" in the ass while quickening its pace and jump-starting its vitals.

Available Here

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Faith - Live At CBGB's (Outer Battery)

When I turned fourteen, I began a journey into what would feed my soul for decades to come— a world known to a minority of kids and young adults as hardcore. It was the early Eighties, and underground music wasn't nearly as accessible as it is today. You had to dig deeper, learn from word of mouth, and perhaps attach yourself to an older kid to show you the ropes. That's how I learned about Minor Threat, Bad Brains, 7 Seconds, and so many more. The D.C band known as Faith, however, was a different story. Born out of the early camp of Dischord bands and possessing a harsher, more discordant sound than most of the bands to be featured on the label, Faith's members would come from and eventually find themselves filling the ranks of numerous and highly influential bands, such as State of Alert, Ignition, The Warmers, Rain, Edsel, and Girls Against Boys.
Live at CBGB's' 'December 26th,1981 features twenty-five songs marked as "Set One" and "Set Two." Time may or may not have diminished the importance of hearing live material from a band that's been deceased for more than thirty-five years. But as someone who still appreciates the many acts that came before his participation or knowledge of such music, I was excited to hear this. Add the consistently excellent sound recorded off the board at CBGB's, and this became a must-have. Live comes with detailed liner notes from the band and is featured on color vinyl.

Outer Battery

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Science Man - Match Game (Swimming Faith Records)

One can't help but get a sense of schizophrenia while holding Science Man's 'Match Game' in their hands. As the gatekeeper for this review, I gave up on making heads or tails on the chicken scratch that adorns the back cover. The nine songs featured within would be best described as industrial with added mania, terror, horror, and short exhales of murderous intentions. With most songs coming in at under a minute and 'Changeling' being the only one to break the minute and a half mark, I felt grateful to escape unscathed. The record itself is limited to 250 copies. Not bad, but as someone who never got near falling under the spell of industrial music. Not my thing.

Swimming Faith Records

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The Midnight Vein - Till it Explodes (Swimming Faith Records)

" Till It Explodes" features two new songs from Buffalo New York’s The Midnight Vein. Formed in 2017, The Midnight Vein seems to be the brainchild of musician John Toohill. The single gathers influences such as shoegaze, dream pop, and psychedelic, styles that might find themselves thriving within England's M'90's Madchester music scene. The single itself has a lingering effect, however simplified by its low-fi recording. Such simplicity works well in showcasing the undeniable quality of these songs.

Swimming Faith

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Bitter Branches - This may hurt a bit (Atomic Action)

Fronted by Tim Singer of Deadguy, Kiss It Goodbye, and No Escape, Bitter Branches also features members of Walleye and Cavalry. I'll never get over my fondness of the band Kiss it Goodbye or forget the first time I heard No Escape's only demo or saw them play a set at Middlesex College, reasons that drew me to and made me feel connected to Bitter Branches. Self-described and perhaps best described as "Pure Mayhem," This may hurt a little bit is musically harsh, unyielding, and brutal. Singers' vocal style has always carried a certain cathartic yet vicious devilment level with spiraling guitar riffs and pounding rhythms. It's great to hear that time or age hasn't mellowed the cast's approach or technique. Though the 12" only features five songs, they pack more punch and make more impact than most of the full-lengths I've heard from the sub-genre in recent years. I'd wholeheartedly recommend Bitter Branches to any fans of hardcore punk and/or extreme music of any kind.

Atomic Action Records

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Constant Elevation - Freedom Beach (Revelation Records)

Seeing with how much I enjoyed CE's 2019's debut 7-inch for Revelation Records, I figured it a good bet to invest the time in listening to and possibly reviewing this new collection of songs. Constant Elevation started in 2018 as a project between singer-songwriter Vinnie Caruana of The Movielife, I Am the Avalanche, and Peace'd Out, and drummer Sammy Siegler of Youth Of Today, Rival Schools, and many more. In the time since their 2019 debut, Caruana and Siegler decided to expand their project into a band by recruiting bassist Jani Zubkovs of Caspian and guitarist Mike Ireland of Pass Away and I Am The Avalanche. "Freedom Beach" impresses from the first breath of "I love you and never want you to die." Teeming with excellent musicianship and intelligent songwriting, right out of the gate, the listener embraces a sound that teems with authenticity. The fourth song and title track "Freedom Beach" raises the stakes and stands out as the EP's best.

RevHQ

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Her Head's on Fire - Two song demo (Self Released)

Rather cleverly self-described as "REM having sex with Samiam, Oasis gets to watch," this New York quartet does a relatively good job of stirring the pot with their self -titled two-song demo. My initial reaction to hearing the first entry "Sugar Lips" was very positive, thinking, what if Dinosaur JR decided to revisit their more punk Deep Throat origins? Overall, this was a quick yet rewarding listen that had me looking forward to more.

Bandcamp

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Soulside - The Ship (Dischord)

Wow. Is it possible that Soulside hasn't released a record since 1989? Funny how I recall writing about it for the second issue of my fanzine, Unite, pecking away on my grandmother's Underwood typewriter as the musicianship and lyrics forever changed my conscience as I listened to the song "Bass." Looking back, except for the Clash and maybe the Bad Brains or Public Enemy, no one had more influence on my socio-political beliefs than Bobby Sullivan and Soulside. Decades later, the appearance of a new record featuring three new songs is, perhaps, the last thing one would expect.

"Ships" has a very tribal, dare I say, almost nautical, feel to it. Thankfully, Soulside's overall sense of rhythm and taste for socially poetic lyrics haven't changed over time as "rise people, rise" echoes in Sullivans' narrative. "Madeline Says" and "Survival" follow with equal strength and integrity. The recording itself sounds large, yet intimate, giving off the largeness of an orchestra performing in a small room. Listening to newly crafted Soulside songs, created and performed by the original cast of characters, for the first time in over thirty years was incredibly rewarding, further enhancing the importance of Soulside’s music and overall message.

Dischord Records

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Shades Apart – Eternal Echo (Hellminded Records)

With memories of seeing Shades Apart perform at CBGB's and the Pipeline still simmering in my sub-conscience, I can't help but think of the lasting impact of their self-titled debut. The band's coupling of melodic punk and hardcore with emotive lyrics likened them more to a Revolution Summer Dischord sound and ethos than that of heavier, perhaps more hardcore-aligned bands of the time.

On their first effort since 2001's somewhat overlooked Sonic Boom, Shades Apart prove that the time apart hasn't stripped the band of anything that made them unique in the past — featuring a barrage of fierce guitar leads, crashing rhythms and anthemic vocals that will have you singing along before you've learned the lyrics. Fiery, straight forward elements of Shades' classic emotive charge can be heard on tracks like the opener 'So What Now' meet more rock radio-friendly 'Dark Valley Lake.' Ten well written and well-executed rock songs that includes elements of heartfelt honesty and integrity. A nice, out of the blue, release from a band that's brought me so much joy over the years.

Hellminded Records

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Second Arrows – S/T (Hell Minded Records)

Featuring a cast of present and former members of Deadguy, Everytime I Die, Ensign (a personal favorite,) The Banner, and Nora, Second Arrows instantly fits the "featuring present and former members of" category, although in NJ we'd just call them a supergroup. On the band's self-titled, eight-song debut, Second Arrows put together one hell of a tormented metal storm without straying very far from their core or operating outside any metalcore lines. Though the musicianship is very good and the vocals are what you might come to expect from the metalcore camp, I never got the feeling I was listening to anything I hadn't heard countless times before. Ultimately, it's a listening experience I would struggle to find a reason to revisit, let alone, repeat.

Hell Minded Records

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Fatal Figures - X Minus One (Big Neck Records)

If early Nineties ABC No Rio and Ebullition bands fused with Fu Manchu and the Hellacopters, it would probably spawn a noisy garage rock band like Buffalo, New York's Fatal Figures. Formed from the embers of the bands Blowtops and Towpath, Fatal Figures have quickly carved out a sound and style that stands out and stands above a crowded field of bands that prove that rock and roll is alive, well and replacing cars with power chords all over the planet. Fuzz, noise, and feral vocals come together to unleash a record whose bite might be more significant than its bark. Powerful and sonic, the music featured on 'X Minus One' keeps you under its spell from the first note to the last. As a super fan of the series 'Stranger Things," I couldn't help but think this would be the perfect soundtrack to the upside-down happenings, as the music has an unrelenting and unwound appeal that one can't ignore. With four box sets and several other Unwound LP's nearby, I'd feel remiss not mentioning Fatal Figures cover of "Beguiled." You’ve read my review, now go listen.

Big Neck Records

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Brain Bagz / Blood Bags Split 12-inch (Big Neck records)

With names like Brain Bagz and Blood Bags, you know what you're going to get. Both those names appear on this 12-inch split also lead one to believe they weren't looking to offer any diversity, which is, sadly, what I got . Featuring eleven songs of noisy, unhinged garage rock (five from Brain Bagz and six from Blood Bags,) the split lacks the elements and ingredients to set the bands apart or make them stand out. Though this wasn't terrible, its lack of depth and thin production leaves a lot to be desired. Overall, it fails to grab the attention or imagination of the listener.

Big Neck Records

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Suggested Friends – Turtle Taxi LP (Fika Recordings/HHBTM )

Founded in London in 2015, the proud and outspokenly 3/4 lesbian act Suggested Friends combines a sense of '90s DIY ethos with punk's idealism and a knack for songwriting that impresses on many levels. The band's second album is earmarked by warm melodies, as uplifting harmonies guide songs. Turtle Taxi pops and crackles with authenticity and an easily identifiable familiarity within, one that gives the album and its songs an anchor that balances the entire album.

It's been a few weeks since I first dropped the needle on Suggested Friends' "Turtle Taxi" and eventually download it to my hard drive. Time well spent, as each listen seems to reward me with a greater appreciation and understanding of what is, unquestionably, one of the years’ most nourishing releases. Call it pop-infused folk music or call it folk-infused pop music. It doesn't matter much when the album's songwriting and crafting are this good.

Sunshine State - The Mess

Sometimes, being ambushed can be a good thing, a feeling I got when first listening to Florida's four-piece unit Sunshine State. "The Mess" immediately makes its mark with an unhealthy amount of hammering guitar riffs, pulse-quickening rhythms, and snarled vocals, all of which help form a punk-infused rock & roll mash-up pleasing as might be, considering the band name and Gainesville, Florida origin.

Featuring a very even ten songs, "The Mess" is equally engaging and anthemic.
The album's opening track "Hard Life" sets the tone while establishing the identity of the hard-rocking Sunshine State. Favorites on the incredibly well balanced "The Mess" include but are in no way limited to the aforementioned "Hard Life," "Shake it off," "Keller Family Curse," "Passenger," and last, but certainly not least, the final cut, "Cash In Hand."

Bandcamp

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We Were Promised Jetpacks – "Out of Interest" EP (Big Scary Monsters)

I first heard the name We Were Promised Jetpacks back when their 2009 debut "These Four Walls" dropped on Fat Cat Records, so it's somewhat strange that I've never found the time or interest to give the band a listen. Odd considering the Edinburg, Scotland band have one of the catchiest handles ever known to indie rock.

The bands' second release on Big Scary Monster Records features five big, atmospheric songs that I couldn't wait to free myself from. The EP's title "Out of Interest" is eerily telling, as nothing featured here captured any of mine. While I'm sure there's an audience for orchestrations such as these, I found no kinship in listening to this.
They say that in music and just about everything else, that there's something for everyone. It's a fundamental truth. For me, this was a complete and total bore. Think, the Smiths on horse tranquilizers. If heroin had a sound, WWPJ would most likely lead the way.

Big Scary Monsters

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The Wedding Present - Tommy 30 (HHBTM Records)

Wow, this brought me back in so many ways. You see, back in the early to mid-Nineties, I dated a beautiful woman I had known since my teens—a girl who loved music just as much, if not more than myself. With different yet often compatible tastes and a love of different genres, we did our best to influence one another through mixtapes and record exchanges. One particular band that she wasn't able to sell me on (most likely due to my own unrefined, narrow acceptance) was the Wedding Present. That is, until I begrudgingly agreed to accompany her to a small venue in Tribeca. That night, I decided to open my mind, heart, and ears to new experiences and sounds. To quote the late great John Peel, "The boy Gedge has written some of the best love songs of the Rock' n' Roll Era. You may dispute this, but I'm right, and you're wrong!" With recognizable influences ranging from the Buzzcocks to the Fall and a gift for clever songwriting, one would be foolish to overlook a band like the Wedding Present.

Though singer/songwriter/musician David Gedge would be the group's only mainstay, his leadership and focus would leave an everlasting and impressive mark on the Wedding Present. As one who's never been a fan of re-recording old material, I might have otherwise passed up the opportunity to pick this up. However, there is a noticeable improvement in the sound, as the original had a somewhat tinny sound throughout. There's also a bit of added muscle to the most evident songs in the guitar sound. Getting the chance to hear the band for the first time in more than twenty years via an improved recording left me with a joyous impact.

Featuring twelve songs, Tommy 30 is borderline genius, a perfect reminder and document of its time. Luckily and not so surprisingly, the songs have aged very well and are even more enjoyable thanks to these re-recordings. I'd feel remiss in recommending this album without urging everyone to look into their back catalog. Think early Cure meets the Smiths without all the weirdness and anti-social mannerisms.

HHBTM Records

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M is We / Night Battles - Split EP (Broken Sound)

Post-punks M is We teams up with Night Battles to create one of the most exciting couplings in recent memory, taking different paths toward a similarly dark destination. Musically, both M is We and Night Battles offer satisfying and compelling tracks. With “What You Carry,” Carrboro NC's post-punk M is We bring to mind long gone acts such as Joy Divison, Tubeway Army, and early-day Cure, with a touch of Factory Records weirdness. The synth-heavy style gives their sound a definitive dark wave nuance.

As for Raleigh's Night Battles, a band I've previously reviewed, “Flat On My back” is a slow-burning entry that carries a dark, sinister vocal approach, moving rhythms, and genre-shifting guitar riffs to make for a post-punk track that warrants praise and comparison to "Slip"-era Quicksand. Though the record only features two songs (one from each contributor,) listening drew me to long for more from each act. Once again, proving that big things often come in small packages.

Broken Sound

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A Tribute to The Hellacopters: South America to the max! (Devil’s Beat Records)

Thanks to Devil’s Beat Records for coming up with the idea and releasing this incredible tribute to the Hellacopters, South America to the max. Formed in 1994, Sweden garage rockers the Hellacopters brought with them influences ranging from The MC5, the Stooges, and early punk to even heavier bands such as Motorhead and Venom. Much like the Hellacopters, the South American artists featured on this tribute deliver cutthroat and concise eulogies that both honor the Hellacopters and elicit plenty of interest in what they're doing otherwise. Favorite tracks include "Ghoul School" by Uraguay's Motosierra, "Toys of Flavor" by Argentina's Cobra Sarli, "Sometimes I Don't Know" by the ska flavored Brazilian act Cianide Summer, and "Venus In Force" by Argentina's Bad Magick. Though no booklet or liner notes detail the history of The Hellacopters or tells the story of the bands involved in the tribute, the album’s cover highlights each group, their personnel, and country of origin.

Considering that most tributes tend to fall short of accomplishing their mission, I found these covers to be an excellent tribute to the Hellacopters while shining a light on some noteworthy acts that you might want to look into. The vinyl version is limited to only one hundred copies. So, if you want one, you best do it quick.

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Discharge – Protest and Survive: The Anthology (BMG)

At a time when people worldwide are risking their safety to take to the streets and protest police brutality and demand equal rights, we need to speak out about music that cried out and sometimes screamed for change... a time to write about the mighty Discharge.

Formed in 1977 during the first wave of punk, England's Discharge would go on to arguably, become the most politically charged band in the history of punk rock. Their 1981 EP "Never Again" and their 1982 full length Hear Nothing, See Nothing, Say Nothing are considered to be landmark recordings that have stood the test of time.

While I had seen the name embroidered on the backs of countless punk rockers' dungaree and leather jackets throughout my teens, getting an earful of Discharge would have to wait. It wasn't until a friend gave me a mixed tape that featured "Hear Nothing..." that I heard the error of my ways. While it's easy to compare and speak of the similarities between Discharge and the band CRASS, Discharge's output and influence on many punk, metal, and thrash acts to come can never be questioned.

This two-disc collection features 55 songs in all, six of which are unreleased gems. Disc One features 29 tracks taken from their many releases. Disc 2 is a goldmine of remixes, alternate takes, extended versions, and demo tracks. Also included is a booklet that features band photos and the history of Discharge, written by the legendary music historian Ian Glasper.

No matter where you sit, Protest and Survive: serves as a great addition or introduction to Discharge, their music, and their message; whether as a collection for diehards or a musical Cliff Notes to newcomers, Discharge's Anthology is an absolute must.

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Catbite / Omnigone Split (Bad Time Records)

Featuring Philadelphia's Soul/Ska Catbite and the East Bay's Ska/Punk newcomers Omnigone, the two acts team up on a split 7 inch for independent record label Bad Time Records. Each band offers a Clash cover as well as an original. Philly's Catbite took a few listens to grow on me and never left any lasting impression. Their style brings the L.A. ska band the Interrupters to mind with more of 90's third-wave ska vibe. Catbite's decision to cover the Clash classic "White Riot" was, at the very least, unfortunate. Their take on the song sucks out all the intended anger and outrage of the original, giving it a cartoonish Saturday morning breakfast cereal vibe. I like the energy and angst Omnigone put forth on their two songs. Their ska/punk sound feels both authentic and appealing. Their music evokes punk and metal elements, which give their version of ska a cool yet demented angle. Their slightly updated "Nothing New." provides the song with somewhat of a breath of fresh air. Overall, I found this split to be enjoyable, yet not all that sustainable.

Bad Time Records

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The Unfit - S/T (Sub-Pop) (Share it music)

Altthough Seattle's The Unfit has been kicking the tires of rock & roll since 2012, this 10-song self-titled LP stands as their debut. When an album introduces itself with a title like "Caged Rats and Hamster Wheels," you know damn well what you're getting yourself into. Whether or not there's a reason behind the bands' sloth-like approach to releasing music, they've more than made up for what might otherwise seem like lost time.

The Unfit mix things up seamlessly, as the raucous foursome feature songs that are fast and unflinching at times and slow and deliberate at others. Knuth's vocals have a confident snarl that matches up with bombast created by bandmates Johnson, Lee, and Johnson. Think Rock & Roll with a Punk attitude. Imagine members of Black Flag and Rocket from the Crypt forming a band with a heavy AC/DC influence. Let's hope the Unfit don't leave us waiting too long for a dose of new songs. In the meantime, I'm sure these will keep me occupied.

Sub Pop

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Jeff Rosenstock - No Dreams (Polyvinyl)

On Rosenstock's fifth solo album to date, the pop-punk veteran and once frontman of The Arrogant Sons of Bitches and beloved Bomb the Music Industry follows similar themes present in much of his solo output, emotional and frustrating themes such as alienation and disenchantment with an added level of emotional derailment that might come from enduring a speedball of issues politically, socially, and environmentally. These topics can be easily relatable. However, in listening to these pop-punk meets power pop songs, one can quickly conclude that Rosenstock sounds like a man growing more and more emotionally derailed.

The quick-paced and loose nature of these songs reminded me somewhat of the sound and approach of the music coming out of Lookout Records in their early days. Thirteen songs that, while not bad, took numerous listens to absorb fully. To wrap up this review, I'd feel remiss without reiterating that Dreams isn't a bad album in any way, j ust one that didn't appeal to me.

Polyvinyl

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The Flatmates - S/T (HHBTM.com)

Is it possible that this is the same Bristol indie-pop act that briefly appeared on the Eastern sea border's horizon during the late '80s? Why, yes, it is. On their first album in thirty-four years. The Flatmates, featuring both original members and newcomers return with thirteen songs of pop-flavored melodies.
Sadly, there wasn't much here to warrant more than one casual l and, for the most part, a painstaking listen. Which, unfortunately, can almost entirely fall on the band's chosen vocalist Lisa Bouvier. In enduring this record, it quickly becomes evident that the choice to have her carry these otherwise likable songs was a bad one.

HHBTM Records

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Tom Barrett - 051480

Maybe it comes with getting older, but at some point in life, you realize that it's the little things that bring us the most joy. For me, the less complicated, the better. Perhaps that is why I gravitated so much toward Jersey City singer, songwriter, and multi-instrumentalist Tom Barrett's latest offering. "051480" is a collection of solo acoustic songs recorded at home during the recent Coronavirus pandemic, an entire album of songs he dedicated to his wife, Stacy. Songs that resonate with the listener on multiple levels, serving as calm in the storm. The level of warmth, intimacy, and soothing on these tracks could easily find origins in the simplicity of the recording, lack of overproduction, and subject matter.

Favorites such as "...Kitties...", "I haven't kept up with you.", " (other) Birds", "Together, together, together...", "halfway there, you guys.", and "Pink moon II" help create a sketch of a songwriter in his stripped-down and raw best. While it isn't yet clear if and how these songs will be released or distributed beyond Tom's Bandcamp page, I couldn't help but feel drawn and captivated by these arrangements.

Bandcamp

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The Bobby Lees – Skin Suit (Alive Records)

Fuzzed out and devilish garage rock from Woodstock, New York that’s frenetic, feral, and totally twisted. Skin Suit features 13 songs that are part rock show, part demonic possession. Intended or not, the band's knack for creating a somewhat raunchy sound while not surrendering any territory in production value is worth noting (and it probably helps that Jon Spencer produced.) The Bobby Lees' penchant for creating fuzzed-out garage rock leaves very little room for improvement, warranting - no, insisting - on the listeners' attention. While it's hard to make comparisons when something this fresh sounding and honest comes along, imagine the White Stripes and Dead Moon joined the devil himself for bluesy mud bath. Choosing a favorite song here would be like choosing one way to enjoy chocolate.

Available 7/17/20. Pre-Order Here

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How Tragic – Past Lives (Spaghetty Town Records)

Brooklyn-based badass band How Tragic make quite an entrance with their 4-song EP "Past Lives." It's quite rare when something immediately grabs your attention and has you gravitating to its core. As someone who witnessed a fair share of street fights as a youth, that's what I thought of when hearing the opening seconds of the opening track "Deathwish." "That voice! That voice!" Could there be a better vehicle than Paige Campbells' voice for these four songs? Absolutely fucking not!

"Deathwish," "Spare Me," "Let Me Down," and "Done" are equally grandiose. With the bowel-shaking shrills overload the senses, parts confident strength and swagger, part vulnerable innocence. These songs feel honest and lived in, adding strokes of emotive brilliance that play with elements of punk, pop-punk, and power pop without settling in long enough to be generalized or put on a shelf.

How Tragic live somewhere between L7, The Donnas and The Distillers. In my humble opinion, even better. This small sample hints at greatness.

How Tragic

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Alice Bag – Sister Dynamite (In the Red Records)

Wow! Is it possible that punk legend Alice Bag, the same woman who fronted the seminal L.A. punk band The Bags, is back with this album? The Bag, who released one essential E.P. and appeared in the incredibly influential documentary "Decline of Western Civilization?" Yes, it's that Alice Bag, and I find myself scratching my head as to how 2020's "Sister Dynamite" is only her third solo album to date.

Sister Dynamite features 12 songs that immediately resonate with the listener, with enough hooks to leave the kind of marks you'll not only remember, but recall in conversation. "Oh, those? I got them while listening to Alice Bag's 'Sister Dynamite."

Music and vocals combine with uptempo, fast-paced, and compelling elements. The strength and conviction conveyed in Bag's voice are remarkable. Edgy guitar leads and pounding rhythms accompany each note acting as a knockout combination. Choosing a couple or even a handful of favorites from the album would be quite a task, one I'm not sure I can handle. Instead, I'll report that each of the album's twelve entries had my eyes and ears at attention.

In the Red

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Dinosaur Eyelids - Sticker Famous

When you find yourself in a slump when it comes to new and exciting music, a band like Dinosaur Eyelids comes along and drops an album like Sticker Famous in your lap and screams in your ear "You're not too old for this!" Thanks to New Brunswick's Dinosaur Eyelids and their latest offering, that slump came to a screeching halt.
The album features 11 songs that capture both the raw, cathartic energy of both a hard-hitting local indie band and the technical chops of a more established one. Whereas 2017's Left Turn On Right put some serious hooks in me, somehow, 2020's Sticker Famous actually might be a step up for the band. Featuring a hard rock and garage edge and appeal that completely knocks the listener on their ass, the album showcases a heavy guitar sound, rhythmic twists, and varied vocal range. Though Dinosaur Eyelids are cooking up their very own snake oil, comparing or likening them to greats such as Fu Manchu, Hot Snakes, and New Jersey's own Rye Coalition seem accurate. As I finish my review and try to nail down the recording's 'absolute halcyon moments, whether I’m being reminded of the Foo Fighters best days on “Shake” or “Never Leaving Here,” the fiery guitars featured within “Never Gonna be your Woman” or on songs such as, “Nogward Spiral” and “Shot to Shit” Owhere the vocal range seems to be channeling that of Chris Cornell,) I found Sticker Famous to be an incredible rock album. One that delivers on all cylinders.

Bandcamp

The Dodies – It’s One Hell of a Ride (Vampire Poodle Records; thedodiesband.bandcamp.com)

Israeli garage rock duo the Dodies make quite an impression on their thirteen-song debut LP, combining bombastic guitar work and percussion with vocals that show off a wide range of emotions and styles. Yoni Avittan fronts the band as lead vocalist and guitarist, as Ran Aronson sings backing vocals while simultaneously playing bass lines on keyboard with one hand and playing the entire drum kit with the other.

"Boiling Point" brashly opens the affair, instantly distinguishing itself as a personal favorite with its confident swagger. "Sell Out" and "Alien" follow suit with similar output before "Suleyman" slows things a bit, allowing the listener to take a long enough breath to notice the Dodies ability to change gears with just enough and maybe more knack for creating a music palette that features many colors and shapes. While it's a tough call, choosing favorites from such an excellent and well-balanced recording would include the aforementioned "Boiling Point" and the subdued "Buffoon," which stayed with me the longest. In the end, The Dodies deliver so many different elements to these songs that strictly referring to them as "Garage Rock" only tells part of the story.

Bandcamp

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The 65's - Never Say Never (Pyrrhic Victory Records)

As I've come to embark on a project that involves reviewing decades of photos I've taken at shows, practice spaces, and beyond, I can't help but wonder where many of the bands and musicians are today. Being that it's been forever since I last heard New Jersey's blue-collar rock band The 65's, I had no idea what to expect from "Never Say Never." Though the band's personnel might have seen some personnel changes over the years, (name one that hasn't ) The 65's continue to capture the gritty emotions of lives fully lived. "Never Say Never"'s three songs make a lasting impression, thanks to Joe Pugsley's gravely vocals and jagged guitar leads and the rhythms of Steele, Strucke, and Roessler. The three songs featured here combine elements of punk, bar room grit, and blue-collar rock, reminding me somewhat of early Social Distortion.

Bandcamp

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The Sinclairs– Sparkle (Cleopatra Records)

While I'm sure mentioning one's past musical endeavors and achievements is very important when writing a bio, it's essential in gauging the attention of a prospective listener. It can also elicit a certain amount of enthusiasm that otherwise might not be present. Such was the case with the Sinclairs and the ten surf-rock tunes on Sparkle. Formed by founding Damned drummer Rat Scabies and Billy Shinbone, the duo set its sites on creating a surf-noir sound that might remind listeners of those classic Spaghetti Westerns of the past.

Though featuring a collection of well performed and produced songs that pay homage to what very well might be a lost and often under-appreciated subgenre of rock, The Sinclairs never seem to pass as anything more than a tribute to the surf rock sound. Though not a bad album, per se, Sparkle quickly had my interest drifting away. By the third song, "Recover," I couldn't help but think I was navigating one long, 2:00 am Viagra infomercial. Though I love revisiting a good surf tune by acts such as The Ventures or the late, great Dick Dale, The Sinclairs failed to interest this listener. The album will be available May 8.

Cleopatra

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You, Me and This Fuckin' Guy - Garden Variety Fuckers
(Dromedary Records)

While mentioning that John S. Hall both formed and fronted the avant-garde masters King Missile might seem like a lazy man's attempt to gain one's interest, it's nearly impossible not to notice both his presence and the uncanny likeness You, Me & This Fucking Guy share with the aforementioned act. Add Azalia Snail and Dan West (Lovey Dove) to the fold and you have a trio with a very memorable name on what, by all means, sounds like a concept album. The expletive heavy narrative that is Garden… gets old quickly and seems to drag on forever. I would have enjoyed this a lot more as a two-song single as opposed to an entire album. Unfortunately, I got a lot more than needed; the album’s 12 songs would have come across much better if shaved down to just a few. Overall, this lacked the substance and depth to be enjoyed as anything more than a campy single.

Dromedary Records

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

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