Last Year's Epoxy River and Super Pool LP by this Evesham, New Jersey (presumably one-man-) group was already such a massive leap in quality for them and yet again, they manage to considerably refine their sound on this newest LP, on which they kinda leave behind the late-2000s fuzz punk and noise pop ingredients that dominated that record and lean even more into the oldschool '80s and '90s college- and indie rock-informed sounds ranging from classic Dinosaur Jr. and Sebadoh, Bitch Magnet and early Seam to the likes of Superchunk and Polvo, with just a subtle hint of first and second wave emo thrown in for good measure but also increasing amounts of '80s hardcore-based proto-noise rockers like Flipper, Big Black, Drunks With Guns and No Trend, especially in the final stretch of the record. There's an unpredictable quality and an explosive, uncontainable energy to these tunes, radiating the pure untamed joy of blasting a euphoric and abrasive, larger-than-life and kinda anachronistic type of melodic noise out of your gear that feels pleasantly out-of-place in this era, all of it further thrown deliciously off-balance by the ear-piercing screams that prove this dude still ain't ready to half-ass anything here.
Damn, has it really been close to five years since we last heard from these spanish egg-/garage punk veterans? Anyway, this new EP shows the group in top form once again, the opening tune Almas Perdidas transporting a kind of intricacy and elegance you'd rather expect from, say, late-career Fugazi than anything coming out of the current eggpunk circuit, easily transcending the band's humble beginnings, though they ain't doing anything to betray or obscure their roots either, the thrilling polyrhythmic playfulness of Pues pues pues pues being yet another impressive example of fusing fun, egg-ish quirks and whims with a healthy dose of subtle postcore smarts before Yo Yo leads the EP to an insanely satisfying conclusion with another energetic, comparatively straightforward but by no means simplistic punk smasher. This may easily be the most well-balanced and elaborate thing Finale have done so far.
Holy fuck, what this Wakefield, UK group is pulling off on their debut EP is pushing so many of the right buttons for me. Rooted in timeless buzzsaw-guitar post punk with more than just a bit of a Big Black edge, this shit also incorporates much of a catchy garage punk immediacy, noise rock sonic assault and relentless hardcore propulsion with plenty of melodic scraps and fragments peppered all throughout. This is so fucking up my alley and reminds me of another crop of UK post punk acts that either predate or avoid the more gentrified nature of the current UK landscape, the closest comparisons i can come up with from the top of my head would be Leeds-based groups Cool Jerks and Coded Marking, but that doesn't tell the whole story either.
This group's debut EP is Indiana DIY punk at its best that on one hand appears to have quite a few things in common at least spiritually with the state's early eggpunk scene as it certainly has a similar air of chaos, inventiveness and unpredictability you'd expect of a Skull Cult or Erik Nervous record for example, even though the rough sonic parameters here are often of a completely different nature, ranging from propulsive straight-ahead garage punk and a no-bullshit hardcore energy reminiscent of another indiana curiosity - that whole Zhoop/Feed/Djinn/Brundle/etc. clusterfuck - to plenty of geographically rather unrelated postcore vibes of the Wymyns Prysyn or oldschool Hot Snakes-/Drive Like Jehu variety, various stages and incarnations of NYC's Science Man or the fuzz punk excess of early The Gobs. Anyway, as you may have gathered, there's always some thrilling and unexpected shit happening on this record.
As pretty much anything the Moncton, New Brunswick one-man-band TJ Cabot has done in recent years, this new EP after like a three-year break is yet another excellent burst of oldschool garage punk goodness, possibly the strongest thing they've done even and among the roughest sounding too once the melodic and absolutely brilliant opener Palm Stings is out of the way, when the remaining tunes take on a more primitive oldschool aesthetic that more than once recalls the proto- and KBD punk stylings of, say, Death, Pagans or Rocket From The Tombs.
Expectations are always through the roof with a new Electric Prawns 2 record but so far they've never disappointed and these two new tunes won't either, showing the group 100% in their element, City Streets being the kind of psych-infused garage punk smasher based around a strong and simple hook they've always excelled in and Be With You Tonight once again showcasing the group's supreme power pop instincts. After a half-year long break that almost feels like an eternity with this group following their incredibly prolific 2024-2025 streak, our favorite australian hallucinogenic hit factory still doesn't show any signs of wear.
In a, so far, kinda lackluster music year as 2026, the surprise release of a new Eddy Current record is certainly a "drop everything you're doing right now" kind of event as there are actually precious few groups still around as foundational to the current garage punk scene, a relic from a different era that has held up so great it feels as if they've always been a constant presence in the time i've been doing this blog, even though in reality all their classic-era releases actually predate 12XU by a couple years and 'cos of that, the first time our timelines actually overlapped with theirs hasn't been until 2019, when their All In Good Time LP showcased a more relaxed, melancholy and thoughtful incarnation of their sound that at the time appears to have disappointed some early fans, but which i was actually very much on board with, even if this certainly wasn't among the strongest sets of tunes they'd done thus far. It was a new direction forward though, the highlights were undeniable and it was actually the quieter tunes like Our Quiet Whisper and Human Race that hit the hardest and showed a more mature path ahead the group would continue to follow with their overall stronger, more fleshed-out 2025 Shapes and Forms EP. The group never before sounded quite as stripped-down and effortless as they do on this new record, more than ever excelling in the art of achieving more by doing less in a fashion that only a band this seasoned can pull off really, churning out a flawless stream of equally catchy and classy jams that tend to sound kinda basic and traditional at first glance yet reliably transcend their simple ingredients owing to a plainly superior type of songcraft they've honed and refined over two decades, all fully exposed and enhanced by their trademark workmanlike, no-bullshit band performance. No shit, this is not only their greatest LP in over a decade (not that there were that many to choose from in that time anyway, haha...), its also the definitive statement and perfect encapsulation of what this present-day era of Eddy Current Suppression Ring is all about, the logical conslusion and brilliant payoff that All In Good Time has already been hinting at but couldn't fully capture yet.
Some dude from Bloomington, Indiana has created an insanely appealing debut mini-LP here, standing with one leg in egg-ish garage- and the other in DIY art punk territory, with the egg-ishness getting increasingly toned down over the course of the record which really helps these tunes evade the looming eggpunk fatigue that even someone as historically sympathetic towards the genre as me often struggles to overcome in recent times. Well, this record does avoid most of the genre's clichés, common piffalls and shortcomings and indeed its much rawer sound compared to many contempory acts rather reminds me of the earlier 2010s formative era of the genre and specifically the Bloomington connection would suggest the likes of Skull Cult as a primary inspiration. Anyway, add to that a number of killer tunes á la 5:43 p.m., Giving Up and OCD and you get a debut that manages to punch leagues above its weight and really stands on its own in an overcrowded genre landscape.
This Maumee, Ohio group has some synth-enhanced power pop-ish garage punk goodness for us on their debut LP whose catchy-as-fuck pop nuggets are constantly steeped in a hazy, uncanny atmosphere and covering a quite decent spectrum ranging all the way from old Lost Sounds, solo Reatard or Digital Leather over the song explosions of early Vagues or King Tuff towards quite recent stuff like Monda, Booji Boys or that incredible Emmett O'Connor LP from last year. A barrage of undeniable earworms whose prevalent sense of melancholy more often than not is met with tons of a quite uplifting, euphoric energy.
Another quality dispatch of the Berlin post punk scene from what i suspect is probably some well-established figure in that space but as secretive as these circles tend to be, we're possibly not gonna learn who's actually behind this perversely dark and minimalist artifact (i could think of some usual suspects though…) radiating a muffled, subdued quality that leaves you gasping for air with the closest comparisons i can come up with being some older DBR / Dee Bee Rich releases or maybe an ultra-sedated version of the likes of Exit Group, Red Gaze, Imposition Man, Pigeon or latter day Diät.
