In case the previous LP of this Leipzig/Berlin-based group was a bit too tidy, conventional and well-produced for your taste, then rejoice!… ‘cos that new cassette may be right up your alley as a hyperactive and noisy, glorious mess showcasing a band just following their creative whims wherever they may take them in thirty minutes comprised of found-sound interludes, zany bits and jokes and plenty of certified bangers along the way, once again approaching the weirdness and fun of their admittedly kinda hard-to-beat 2022 Estray LP.
I never came across this Copenhagen group before, although they’ve apparently been around for well over a decade by now. Right out of the gate, their third LP radiates an eerily familiar vibe yet looking a bit closer, there’s more goin’ on with this record than meets the eye at first glance. While the slight folk- and cowpunk vibes of the openening track call to mind the folk-ish post punk acts Dead Finks, Optic Nerve and the nervous garage punk twitch of Hank Wood & The Hammerheads, i’d say that subsequently, this record settles into an aesthetic blurring the line between straight-up catchy punk rock and a darker post punk feel, similar in one way or another to such groups like Xetas, Red Dons, later Naked Raygun, Warp Lines, Dead Years and Telecult. Also, there’s some neat Leatherface-esque guitar work going on here and a melancholic quality that reminds me of shit like The Misanthropes and early The Estranged.
No unpleasant surprises here, the newest EP of West Palm Beach, Florida group Rude Television is yet another high caliber projectile of catchy, egg-ish garage punk excellence and highly recommended for friends similar shit á la Gee Tee, Erik Nervous, Set-Top Box, Satanic Togas, Power Pants or Tommy Cossack & The Degenerators. Hell, that closing track Rat Bastard may well come to be regarded among the genre’s all-time greats in retrospect.
Like a rougher companion piece to the Demo Rally LP i’m gonna be postin’ about in just a minute, the debut LP of this Leeds group from late summer – now given a cassette release by french label Discos Peroquébien – delivers more of that excellent noisy and no wave-ish post punk eccentricity, the possible influences of which alternating between such agents of dissonant chaos as Spray Paint, Brandy, Rolex, Lumpy and the Dumpers, Cutie and Soupcans, while comparatively slow and disciplined tracks like Bog Witch even exude a bit of a classic ’90s Chicago-style math-/postcore energy.
The debut tape via Goodbye Boozy of this Haarlem, Netherlands group is yet another quality release of egg-adjacent, unwieldy garage punk chaos that kinda sounds like a synth-infused Uranium Club in its more streamlined and restrained moments while at other points reaching a level of weirdness akin to infamous garage punk bafflers and headscratchers á la Checkpoint, Pressure Pin, Liquid Face, Skull Cult and Belly Jelly.
Just like on their debut EP, the Ottawa, Ontario group delivers a quick batch of oddball eggpunk chaos which at first glance appears to fit squarely into the genre’s established tropes and parameters with groups such as Clarko, Prison Affair, Beer, Beta Maximo and Smirk being some of the obvious comparisons. On closer inspection though, this shit reveals many deeper qualities not least thanks to some pieces of top-notch songcraft, tons unexpectedly catchy hooks and plenty of novel ideas sprinkled throughout. This group is successfully punching way above its proposed weight with tons of musical substance in here to anchor the quirky aesthetics – way more effort under the hood than would be deemed necessary for your average egg artifact.
The 2020 debut EP of this spanish-singing swedish group still fit in (maybe a bit too) well with what i’d probably have described as your typical hardcore- and death rock-adjacent “dark punk” fare in the prior decade, though the 2021 split tape with Iceland’s genre mainstay Dauðyflin showed some steady progress already. Now, with their newest mini-LP, i’m gonna say they’re finally reaching peak performance and beginning to transcend their kinda restrictive genre surroundings with a bunch of new tunes that – though not actually inventing anything new here – tweak the genre’s basic nuts and bolts to absolute perfection in a breathless succession of immaculately built bursts of death and despair that keep things thrilling and interesting from start to finish, a quality that sadly has become a bit of a rarity in that particular niche.
Hyperdog have already been on my radar thanks to a neat debut LP and two not at all lousy demos, though the austrian group’s formula has never clicked into place as nicely as on their newest extended play cassette via Goodbye Boozy Records. This is is fuzzy garage punk with at times uncharacteristically relaxed tempos and a glittering psychedelic surface that reminds me a lot of Beta Máximo’s sparkling noise pop color splashes.
This Portland group’s debut EP delights with an effortlessly cool make of fuzz punk alternating between melodic noise pop gems that kinda resemble rougher and simpler variants of early No Age, Terry Malts, Male Bonding, Why Bother?, The Wind Ups or Deletions, and a couple of even more primal bursts that call to mind the likes of Buck Biloxi, Lumpy and the Dumpers, Giorgio Murderer, Bart and the Brats and that Zhoop/Djinn/Feed/etc. dude. Closing out the bunch is a neat acoustic tune that doesn’t shit the bed either.
This group of uspecified origin has kept things short and sweet so far and they keep it that way on their third one in a series of digital 2-track singles aswell, once again pulling off two perfect little explosions of catchy-as-fuck melodic garage punk that fans of shit roughly in the manner of Marked Men, Radioactivity, Sonic Avenues, Cheap Whine and early Sweet Reaper should under no circumstances miss out on!
