Perfectly exhilerating shit, the first crumbs of noise we get from some group or project that might or might not be based in Los Angeles. The first two tracks deliver a flavor of electrically driven garage punk taking cues from acts like Mononegatives, Useless Eaters, Powerplant, RRC or Alien Nosejob while the closing track ups the weirdness considerably, going all-in on pure synth punk mayhem.
Now that's what i call kidpunk… It's the most heartwarming beautiful kickass thing i've heard in a while and i'm way too soft to withstand that kind of shit anyway. Nuff said.
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Following their 2018 album Hunk, which somehow didn't really click with me, the Reno, Nevada group's newest EP manages to hit all the right spots this time while never repeating itself, covering a sonic range spanning from oldschool AmRep- and Touch & Go-style noise rock, hardcore punk reminiscent of early Die Kreuzen and in its closing track, some Drive Like Jehu-esque Postcore.
It only took them like… twelve years but finally the Munich duo has released their second 7" via Slovenly Recordings and it's an irresistable blast of garage- and electro punk with echoes of The Spits and Stalins Of Sound, plus an unlikely touch of Big Black in the highly combustible opening track Shut Your Face.
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Antibodies' third "long"-player presents the group from Charlottestown, Canada as fresh and lovable as ever, delivering yet another brief oldschool burst of slightly noise-infested, fun and somewhat quirky hardcore punk that doesn't overstay its welcome and knows how to keep things interesting throughout.
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In case you like your hardcore punk wild, catchy and innocent like it's 1981 on the US west coast… there's your new jam as it won't get much more 1981 than this Toronto group's debut EP. These five ridiculously appealing tunes don't sound anachronistic in the slightest though. Rather, with their timeless garage and KBD vibes, they fit in just as well with contemporary groups á la Launcher, Freakees, Liquid Assets or Cement Shoes.
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Some weird-ass shit, this archival release containing the complete recordings, made in or around 2016, of a short-lived Brisbane group… and of course it doesn't take a fucking genius to figure out this is yet another project revolving around eccentric avant-garde guitar torturer Glen Schenau of Kitchen's floor, plus two other dudes who played in Sydney 2000 and Piss Pain respectively. It might be their involvement rendering this stuff almost approachable for a Schenau-related artifact, although by approachable i mean: No more approachable than, say, early The Fall or Membranes records are approachable. If that sounds approachable to you, then this will too!
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With this London dude's debut tape having been such an incredibly fun ride, its follow-up - a hot mess made up of reworked/remastered/re-heated older demos and a pair of new tracks - sure feels a bit unfocused in direct comparison, yet still manages to kick plenty of ass on its own. Another adorable batch of quirky DIY garage punk that, despite its british origin, has a predominantly australian feel to it with groups like Set-Top Box, R.M.F.C. and Satanic Togas coming to mind as well as the unavoidable Ausmuteants/Alien Nosejob, a touch of Useless Eaters.
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A Cleveland, Ohio group presents a rough and dissonant mix of noise rock and post punk with a sharp garage edge on their first EP which, in the current music landscape, positions them roughly inbetween such Groups as The Cowboy, Spray Paint, Flat Worms and Plax, at times supplemented with a certain Flipper vibe.
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I don't think i ever gave Berlin's mystery act Heavy Metal the full spotlight on here and in retrospect i can't really tell if that was because Heavy Metal weren't quite ready for me or 'cos i wasn't quite ready for Heavy Metal. All i can say is i've been monitoring their curious and prolific trajectory over the past few years and with every release their garage-/electro-/totalfuckingnuts-punk bastard concoctions resonated a bit better with my broken brain until finally they hit a prefect sweet spot with their fifth (duh…) longplayer on which they come off kinda like a more out-there version of a certain North Carolina group that's been rumored to not be punk enough for heavy metal or something… thrown in a blender with a healthy dose of Swell Maps or Métal Urbain/Dr. Mix & The Remix. Never before have they sounded this nebulous and just wrong in all the right ways, except maybe for the idea of fighting the devil… that simply doesn't strike me as the most heavy metal thing to do. It might please the christian rock crowd, though.
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