After the grave diasppointment that was the too-slick-for-its-own-good, overly sanitized second Poison Ruïn LP recently, i’m glad to have come across this neat substitute drug created by a Philadelphia group, scratching some similar itch of strongly ’80s heavy metal-influenced, dungeon-adjacent punk, even if the overall style here feels more at home in the wider hardcore and d-beat landscape. Nonetheless, if you take a closer listen these tunes reveal an abundance of sophistication, attention to detail and tons of highly captivating hooks to both anchor and elevate these seven bursts of breakneck-speed ecstasy.
Quality hardcore shit courtesy of a Tokyo group which blends some distinctly ’90s school of post-thrash-era (not the website, haha…) hardcore riffing with a particularly japanese-sounding melange of NWOBHM-infused garage-, speed- and motörpunk… you could almost say right in time for that new Guitar Wolf record just to remind us in what corner of the world this particular sausage has been made particularly tasty and consistently for many, many years now.
The sound of this New Orleans garage punk powerhouse has gone through some phases and permutations in the past already and once again twiddles the knobs a good bit for their newest EP which, while recognisably springing from the same minds, takes on much of the sonic guise of a NWOBHM-inspired hardcore- and motörpunk speed rush particulary on the first and last tunes, while the middle one somewhat closer resembles that couple of solo-recorded singles and demos released over the course of 2025, reinforced with the added oomph of a tight-as-fuck full-band performance. The closing track Socialized – also previously known as one of these 2025 demo tunes, has evolved so much for the version included here you could easily consider it a different tune altogether if it didn’t have most of the original lyrics still in in place.
Now that’s some tasty shit coming our way from this indonesian dude or group, four completely blown-out bursts of Lo-Fi fuzz and noise existing somewhere inbetween the parameters of spaced-out art punk of the MX-80 and Chrome variety, japanese psych- & garage punk akin to 80s High Rise or whatever Les Rallizés Dénudés bootleg you’ve got laying around, spiced-up with a healthy dose of sleazy motörpunk. Neat!
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.
It’s been another couple of incredible weeks for more-or-less hardcore-related noises so here are four more picks i find particularly notable, in a spectrum progressively moving from the more punk-ish ends towards the unapologetically metal-embracing realms of the genre. For starters we have a brand new tape by Dublin, Ireland group Flower Power who deliver five forceful punches of rough-ass lo-fi ruckus that appears to stand with one foot in the legacy of left-field hardcore shit á la early Flipper, Broken Talent, Noxious Fumes or more recently, Soupcans, Stinkhole and Vulture Shit, with the other firmly planted in oldschool KBD-style artifacts of the Mentally Ill, Endtables and Executives breed, combining hardcore energy with garage punk drive. A much more grim mood then emanates from the tunes of Leeds, England group Mother Nature, whose punk attacks have plenty of a post punk-ish, death rock-y, noise rock-ing vibe to them that reminds me of such acts as Acrylics, earlier Bad Breeding and the australians Arse. Cheap Heat of Schenectady, New York had already made quite an impact with their excellent 2022 demo and on their new EP, they pick up the threads right where they left them off, with a sound that mixes hardcore with a generous plundering of motörpunk, sleaze rock and speed metal, resulting in an overal aesthetic not entirely dissimilar to such groups as Cülo, Cement Shoes, Tarantüla and Polute. Last but not least we have the most metal-leaning group of the whole bunch, Dart from Oulu, Finland, who are the latest entry into a developing canon of bands working on rehabilitating the reputational damage of sounds on the intersection of hardcore and metal by recognizing the punk rock inside of metal, rather than clumsily forcing generic metal elements upon punk rock. The result, as you might have guessed, is drenched in tons of straightforward, oldschool NWOBHM energy and may please oldschool metalheads as much as it will fans of punk acts á la Poison Ruïn, Punter, Ninth Circle, Polute, Hög and Steröid.
Having already tasted some of their new LP in the form of a perfect teaser EP a couple weeks ago, we finally get to hear the full debut LP by the dungeon punk wizards of Karlsruhe, Germany and oh boy, we’re in for a fucking treat that combines a couple of new recordings of tunes already heard on their 2023 demo with plenty of equally strong new material into a breathless thrill ride that’s further helped along by a perfectly fitting and outright filthy lo-to-mid-fi production that sounds as if the whole thing had been recorded in some fucking parking garage. There’s tons of sparkly psychedelia to the garage rock of the opening track Locket, a primitive proto punk punch and simplicity in Tear it Up while tracks such as As Loud As Me and My Dawn lighten things up with unexpected flashes of melodicism, the latter of the two having a distinct vibe of early The Men to itself. Contrast to that the hardcore-meets-motörpunk attacks of Give Me Beat and All This Heat, the oldschool Sabbath leftovers fused with the space rock abandon of late Destruction Unit in Supression, which is simultaneously being embedded into some vague post punk context á la Nag. The dungeon punk hymn Fomo Boy remains every bit a destructive force as we’ve already gleaned from the demo and the new track Inte Mer Hem following that one has much of the same momentum and qualities. Fuck me, this thing slaps.
Excellent shit, the second EP by this Christchurch, New Zeeland group on which they combine quite a bit of oldschool aussie Rock’n’Roll á la Radio Birdman, Saints and New Christs with also a ton of oldschool “heavy” ur-metal and motörpunk into four sweaty puddles of filth, an unapologetically sleazy strain of garage punk that reminds me a lot last decade’s mainstays Golden Pelicans and, to a somewhat lesser extent, Cement Shoes as well as the Split System/Stiff Richards/Cutters-adjacent sleazepunk act Polute.
