Two titans of contemporary garage-/synth-/eggpunk join forces once again for a new Goodbye Boozy 7″ that combines three new tunes with the tracks from 2023’s Genetic Southern Hemisphere Christmas EP and what can i say, that shit sounds pretty much like what you’d imagine a Busted Head Racket & Billiam collaboration to sound like which is to say absolutely glorious like the best of both worlds squared and bearing the unique signatures of two of the australian garage underground’s brightest creative spirits.
This sheffield dude delighted in 2020/’21 with three excellent EPs of covid lockdown-spawned melodic garage punk and it appears these four tunes have also been languishing on some hard drive in half-finished form since back then and have only recently been given the finishing touches. So no surprises here really – these songs feel like a seamless continuation of that same greatness, once again taking the form of super-catchy no-frills punk tunes that seem to have equal amounts of Buzzcocks and solo-era Jay Reatard in them as well as the high-impact garage blasts of Kid Chrome and, most recently, the simple, fuzzed-out garage-/noise pop hymns of Sex Mex.
I think the demo of this NYC group is some pretty fucking brilliant shit. The charmingly rustic Lo-Fi recording can’t do anything really to obscure the obvious qualities of their spin on equally catchy and hard-hitting fuzz- and garage punk that at first glance radiates a pronounced Wipers-meet-KBD-esque vibe with some added Saints, Buzzcocks and Dead Boys flair but there’s more under the hood than first meets the eye as some closer observation reveals some neat little flourishes and details, like a bit of a southern rock flavor, the kind we’ve recently heard on that Elvis 2 LP while the forceful, tight-ass presentation and the vocalist’s pissed of bark call to mind the likes of Split System and Punter. In other moments, you may draw some plausible comparisons to the frantic post punk of Nevosas or the rougher end of the Booji Boys spectrum.
Here’s yet another bucket of egg-ish garage-/synth punk in the form of this Melbourne group’s charming collection of demo recordings of which some “proper” recordings are rumored to exist by now as well, which we’re hopefully gonna get to hear quite soon. Just as on their debut EP earlier this year this shit ain’t gonna redefine the genre but delivers some quite infectious tunes staying within the specifications and tropes of contemporary garage-/eggpunk while also showing some massive improvement over the debut in terms of consistency and sheer catchyness.
Dallax, Texas punks Thyroids have been fucking around with different styles and vibes for quite a few years already but they really started to hit their stride with last year’s excellent EP Toppings and Droppings. Now, for their first full LP, they’ve once again shaken up and diversified their sound considerably, with only traces left of the heavy synth punk leanings of the predecessor. The opening track ABCs of Assimilation delights with a variation on angular post-meets-garage punk shit á la Reality Group, Uranium Club, Exit Group and also quite a bit of Skull Cult – even more so in tunes like Static/Dynamic or The New Poor, which also have a bit of an undeniable Knowso vibe to them. The Loot and Don’t Ask, Dumbass are no-frills borderline-hardcore gut punches. Daily Habits reimagines the group in a somewhat egg-ish guise while Enterview and Suited & Tied have something of a math-y postcore edge, vaguely reminiscent of the likes of Big Bopper, Rolex, Brandy or Mystic Inane. Check Engine Light conjures up some oldschool Useless Eaters or Ex-Cult energy. Cop Out is a hyper-focused and compact garage smasher getting maximum mileage out of an old-fashioned riff and the closing tune !!! Click Now To Claim Your Reward !!! once again goes all-in on the afrementioned Skull Cult and Uranium Club vibes to utterly hypnotic results.
A pretty fucking stunning debut LP from an Alamance, North Carolina duo excelling in a hazy and hypnotic mixture of noise rock, post punk, oldschool indie rock and the darkest alleys of the americana spectrum. The latter tendency often come across like a more vicious and propulsive take on the muddy southern gothic charm of (quite paradoxically) NYC based group Weak Signal but also, at certain points, you may find traces of the blues-y proto-noise rock of Feedtime and Scratch Acid, the swamp rock of eighties Scientists. The overarching melancholy of the whole affair then again reminds me of somewhat indie rock-leaning groups like Australia’s Kitchen’s Floor, Treehouse and earlier stuff of London’s Witching Waves on one hand, the moody, eccentric post punk of acts like Auckland/Berlin-based groups Trust Punks, Dead Finks on the other, with further similarities to the deep abysses of Atlanta’s Uniform, Glittering Insects, Mother’s Milk or the folk-ish Angst- and Meat Puppets-indebted neo-proto-grunge of Bellingham, Washington group Pig Earth and Madison, Wisconsin’s Dharma Dogs. All of that is being rolled expertly into ten all-killer-no-filler widescreen melodramas here with perfect sonic architectures marked by super effective buildups and payoffs.
Excellent garage-leaning horror punk from yet another Minneapolis group. I gotta admit i wasn’t too thrilled at first as directionless is probably the right word to describe the opening track Lobotomized of their first long-playing effort, but thankfully after that, they quickly find their footing with pretty much everything that follows being on a different level altogether as flourishes of eighties early goth- and death rock collide with elements of early west coast punk and hardcore, plus riffs and solos straight out of the ’70s metal and motörpunk playbook in an inventive and tight-as-fuck explosion of highly addictive hooks.
This Minneapolis group sets off some fine little blasts of quite classic-sounding postcore that roughly follows the old blueprints set out by Drive Like Jehu and – even more so – Hot Snakes, subsequently carried over into later punk eras by more recent groups like Wymyns Prysyn and Bloody Gears, though in this particular case i think it especially warrants a mention of shit like Ascot Stabber or Flowers of Evil as the way rougher side of that same coin so to speak, which reigns supreme especially in the second half of this EP. Now that i’m thinking of it, i also hear a bit of Video and early Bad Breeding.
New fodder for dungeon dwellers and other medieval punk scum. Sword Breaker of Utrecht, Netherlands made a strong impression with their Demo in 2022 and their full-length debut now delivers more of that same kind of headsplitting fun which can easily be categorized as “Poison Ruïn and their ripple effects”, although that doesn’t mean that their tunes won’t deliver some exquisite thrills in their own right, approaching the microgenre from a way rougher and simpler angle (despite an ever-so-slightly cleaner production aesthetic) which feels way more ’70s hard rock- than ’80s heavy metal-inspired while also leaning harder into classic Oi!- and garage territory with addidional traces of Wipers and subtle touches of british psychedelia.
Now this is some equally appealing and pleasantly out-there shit right here, coming from a group of unknown origin that might be a duo or just a single split-personality being, so yeah, everything is appropriately nebulous and undefined here. The first three tracks start out like something of an eggpunk version of that whole Feed/Zhoop/Brundle/etc. clusterfuck with further flourishes from the funked-up ends of ’80s post punk and no wave while also channeling a distinct vibe of eggpunk’s early proto-genre days. 1 + 6 + 2 + 9 + 8 Milligrams then takes an unexpected detour into quirky electro punk somewhat reminiscent of Freak Genes, whose earlier works are also reflected in Sallywagger for example, plus an additional touch of Skull Cult. To round things out, some of the more no-frills guitar-centric tunes such as Big Man have some distinctly old-fashioned Neo Neos- or very early Erik Nervous-like qualities seeping in.
