Austin, Texas group Guiding Light already had a pretty exciting, if still kinda messy debut EP out via Stucco / Down South Tapes in 2024, who are now also responsible for the cassette release of their first full length record (viny is availablel via Post Present Medium), on which they up their game in pretty much every aspect of their sound as the the folk-ish strummy melancholia of Shackled By Lust makes immediately clear and even though that tune ain't fully representative of the rest of the album, it keeps on resonating as a thoroughly impressive opening salvo nonetheless. That greatness persists all throughout the record where their folk- and cowpunk-adjacent strummery somewhere inbetween the likes of Angst and Volcano Suns keeps colliding with eighties Post Punk right between the chairs of, say, Burma, Saccharine Trust, Man Sized Action and early Minutemen, though spiked with occasional bits of Flying Nun Post Punk Psychedelia, catchy Jangle Pop guitar leads and -harmonies, though if instead you feel like naming more recent Folk-/Cowpunk/Post Punk hybrids á la Leche, Cardi O., more recent Rolex or Optic Nerve, i'm gonna say you're right on the money too. Can't miss this one if you're into any of that shit.
After an already quite thrilling demo tape in 2023, the group from Oslo, Norway finally makes good on the promise and impresses with their fully realized vision three years later on their first longplayer, wildly elaborating on their eclectic sound that incorporates such things as a bit of the frantic and anxious early Iceage energy unravelling here, a touch of early Poison Ruïn high-stakes dungeon punk drama, coupled with a momentum somewhat reminiscent of Stay Home-Era Hank Woods & The Hammerheads and there's also plenty reference to be found of another New York Band Hank Wood has been in, the existential psychedelic cowpunk nightmarescapes of Murderer. Further i'm reminded of that unpredictable recent Forcer LP, the epic frankenstein song constructs of the 2020 Tom Lincoln solo album und its sort-of full band incarnation / successor Metho, whose line-up including the great Jackson Reid Briggs then again leads me to the realization that tunes like Trollmandens lærling also have quite a bit of a Split System energy to them. So yeah, what this band is pulling off here covers a lot of ground and whatever these dudes touch seems to turn into pure gold instantly, while the more garage-like mid-fi production values of the previous EP give way to a more hard- and postcore-infused vibe with slightly metal-infused overtones on this, matched up with just the right kind of vicious, unrelenting performance here to make that shit stick. This record is a wildly creative grab bag brimming with pure wonder and breathless ecstasy.
Different flavors and intensities of cowpunk-related noise seem to be a running thread in the past two weeks and right on cue, there's also a new record by one of recent years' most impressive voices in the field: Reuben Sawyer's solo project Anytime Cowboy, as usual released without much fuss or even the slightest heads-up in terms of promotion and i like that - Anytime Cowboy certainly ain't a group in danger of getting dubbed an industry plant by kids just coming to terms with the fact that such a thing as the music PR business even exists, haha. Anyway, with how massive an instant classic last year's Demons Obey has been, it would surely be kind of a tall order to expect another of those right away and indeed, its successor doesn't even feel too concerned with one-upping that record and instead comes across as just another very, very good record that may feel a couple tracks too long at one point or another but on the plus side, shuffles things around with a slightly altered, lighter overall feel, leaning a bit heavier into a relaxed and upbeat indie rock vibe while still carrying that unmistakable folk-ish strummy, jangly feel and the uncanny, surreal quality to these tunes. At eighteen of those, the record predictably has a bit of a looser and more fragmented character, though if you judge it by the sheer number of certified bangers on there, i'm gonna say it's nothing short of another fucking winner.
Buffalo, New York duo Ismatic Guru are a rare breed of a post punk act that not only constantly keeps raising the bar and refining their craft with every release over the span of six EPs so far - roughly one every year since 2021 - but in the process has carved out a pretty singular, unmistakable niche for themselves, sticking out even in a genre landscape that's about the most crowded and diverse it has been for decades i'm gonna say say. Made up of their trademark angular, funky-to-math-y rhythms and playful grooves, plenty of kraut-y peculiarities, a bit of colorful, kaleidoscopic psychedelia and a strong dub-ish undercurrent, this one's yet another half-notch about anything they're done before. Having ironed out the initial kinks of their art early on in their discography, they sound just insanely confident by now and almost as if can't do no wrong at this point. If you're into art punk shit that's equally quirky and classy, lively and intricate, you can't ever skip a new Ismatic Guru record.
This Boston group has six unresistably smelly puddles of oldschool-ish garage punk action for us that fit roughly inbetween the basic parameters of classic Reatard(s), golden-era Liquids and more KBD-inspired shit we've heard from the likes of Freakees and Launcher, with a couple pop-nuggets thrown in that remind me of stuff á la Dark Thoughts or early Vaguess. There's nothing terribly smart or original about it really but the tunes, performances and attitude are just spot-on and whenever i'm craving some basic no-frills catchy garage mayhem, this shit's just gonna fit the bill.
They've been around for way longer than i first realized, this Cleveland, Ohio group featuring, among others, Mickey Mocnik of Nervosas fame who's later also been making awesome noise with The Missed and, most recently, Vital Stress. Anyway, last year's Adaptor EP certainly saw the group move on a bit from their earlier sound dominated by echoes of late '80s, early '90s punk and indie rock-ish vibes with a slight touch of Fastbacks toward a more fleshed-out, kinda contemporary-feeling, yet also perfectly timeless brand of fuzzy, garage-y noise pop with some subtle traces of psychedelia and post punk on top. On this new one, they once again channel their energies into an even more catchy and compact bundle of tunes which once again call to mind mostly 2010s groups like Feature, UV-TV, Slowcoaches or Monster Treasure.
Vague Fugue already had a neat EP out last year even though that one still suffered a bit from a kinda plain production aesthetic which brought out a bit too much of a middle-of-the-road garage dadpunk vibe to fully vibe with me. I dunno, it just didn't feel quite appropriate or flattering to their sound, a stark difference to the muddy LoFi fog of this new tape, which frames their anachronistic mayhem as just the kind of drugged- and fuzzed-out satan worshipping acid rock the first EP already strongly hinted at, but couldn't quite sell. This shit sounds perfect right here and it definitely helps that the underlying song material, while still simple raw and primitive, never drops the ball once and omits any unnecessary noodling around and jam band wankery this time.
Chubby's still new-ish band EZ8 has now been properly renamed The Easy Eight and also has their first LP out via Static Shock Records which, to be fair, is actually just the first EP extended with four new tunes, which is also fine 'cos that EP was plenty awesome enough to be listened to over and over again and the new tracks are just as marvellous in that trademark Oi! / Power Pop fusion that only Chubby and his co-conspirators can pull off so infectiously. A good catchy tune and a stubborn, tight performance is all that's needed here, simple as that. I mean, what else do you expect of a new Chubby record? A progressive rock opera in nine chapters? No, you'll get this beauty instead, though there's still a couple of neat flourishes we haven't heard from any of his previous groups like that bit dungeon-esque oldschool heavy metal shredding throughout the verses of Fear As A Gift.
Damn, this Chicago group's noise must've already sounded quite archaic at the time their first LP dropped in 2013 but now, more than decade since their last recorded output, their sound has passively made it full circle back into the pleasantly old-fashioned, timeless and classy bracket of anachronistic noise, their sound clearly taking cues from the likes of Lync, early Jawbreaker and Superchunk or, to a lesser extent, Dag Nasty, Rites Of Spring and maybe also some traces of early Unwound and Hoover? Anyway, these tunes are operating on a level quite a few notches above your average '90s punk throwback, chiefly owing to an abundance of rock-solid songcraft all throughout and an unwavering intuition for timeless heavy-duty, load-bearing hooks, while also leaving plenty of wiggle room for some neat diversions and moments not quite fitting the standard early '90s postcore / emo / indie rock templates like that bit of a Wipers- and Dead Moon-esque garage flavor added to tunes like Caustic Dreams. It's this skillful balance of what strikes me as a quite intimate, encyclopedic knowledge and love of that particular patch of 90s punk history coupled with a marked reluctance to comply with its tropes and conventions too slavishly, adding even more of a unique flavor to a record that's not ashamed to feel vagely nostalgic and retro at points without ever coming across like a tired retread, still able to subvert and exceed my expectations in crucial places, a record equally inspired and old-fashioned.
Just about half a year after their brilliant previous Weston-le-Clay EP, its successor sees the Warford, England group once again upping their game in terms of both variety and compact-/catchyness of their, at times, subtly math-infused post punk, most significantly expanding on the more midtempo-ish section of their stylistic repertoire and as expected, that shit works just admirably here 'cos this dude (or these dudes?) clearly has the creative juice and raw musicality to pull that shit off. Just as before, smartypants contemporary post punk influences of the Landowner variety loom large over this one too, just as do ancient british DIY art punk staples from a quite diverse sphere inbetween, say, Mekons, Blurt and Television Personalities, though at the same time, Aidmoozic sound very much like themselves here more than ever. The seeds of this greatness were already noticeable on their two 2024 EPs, but Aidmoozic play on a whole different level in 2026 and i'm gonna say that in these short few recent months, Aidmoozic have catapulted themselves onto the cutting edge of contemporary art punk with razor-sharp, though seemingly effortless, precision.
