Poison Ruïn - Härvest

In a some­what un­ex­pect­ed but, all things con­sid­ered, per­fect­ly sen­si­ble move, the Philadel­phia group on the cut­ting edge of the still kin­da vague­ly de­fined and de­vel­op­ing dun­geon punk genre re­lease their first full length ef­fort on the well es­tab­lished, rather met­al-lean­ing la­bel Re­lapse Records. Thank­ful­ly this has pre­cious lit­tle in­flu­ence on their sound, aes­thet­ics and pro­duc­tion val­ues, with their newest batch of songs even pre­sent­ing the group at their grit­ti­est and most Lo-Fi so far, their still ab­solute­ly sin­gu­lar, elab­o­rate son­ic con­structs made up of post- and garage punk, noise rock, post­core, a very slight hint of Oi! and on­ly the most an­cient in­gre­di­ents of pro­to- and old-old­school met­al re­main­ing ob­scured by in a thick lay­er of tape hiss all the time. Yeah, the whole thing sounds glo­ri­ous i got­ta say!

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Glittering Insects - Glittering Insects

Ab­solute­ly fuck­ing bril­liant shit once again ar­riv­ing at our shores cour­tesy of To­tal Punk Records! Glit­ter­ing In­sects fea­ture mem­bers of GG King, Preda­tor, Wymyns Prysyn and Uni­form (the at­lanta group, not the NY in­dus­tri­al punk/-met­al duo) and of these, it bears the most sim­i­lar­i­ty to the lat­ter two groups with the melan­choly arrange­ments strong­ly echo­ing that dis­tinct Uni­form vibe. Over­all the com­bi­na­tion of grit­ty abra­sive tex­tures, the afore­men­tioned sense of melan­choly, a songcraft that comes across as sad and un­wieldy yet melod­ic and catchy at the same time, re­minds me a lot of aus­tralian noise-/indie rock gods Kitchen's Floor, the scuzzy post punk of City Yelps or, in its most catchy mo­ments, the noise pop of ear­ly Tree­house. An ex­cep­tion­al­ly im­mer­sive and epic ex­pe­ri­ence best tak­en in as a whole - a rare thing these days.

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Eunix - Demo

Mem­bers of Bib and Ni­hilis­tic fit, among a whole shit­load of oth­er groups, de­liv­er their first EP here and it's hard to not get ex­cit­ed in face of this ex­plo­sive force. These are su­per-sol­id, ma­ture and elab­o­rate song as­sem­blies made up of a time­less post­core sound which is al­so per­fect­ly able to slow things down - like in the doom/s­ludge-lean­ing ex­cer­cise Face Down - with­out bor­ing you to death. Al­ways al­ways a sign of com­po­si­tion­al ex­cel­lence if you ask me. In re­cent years, we might've heard sim­i­lar blasts from bands like Ro­mance, Shove, As­cot Stab­ber, Flow­ers of Evil or ear­ly Bad Breed­ing.

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Chimers - Turn On The Lights /​ Closure

Still hav­ing com­pared their last dig­i­tal sin­gle main­ly to the es­tab­lished Mis­sion of Bur­ma for­mu­la, i'll ex­pand that as­sess­ment to a more neb­u­lous tri­an­gle of Bur­ma, Wipers and Son­ic Youth in face of the newest tracks by the Wol­lon­gong, Aus­tralia group - an aes­thet­ic hov­er­ing in­be­tween the worlds of post punk, noise rock and fuzz punk which you might as well com­pare to more con­tem­po­rary groups like ear­ly No Age or re­cent ital­ian sen­sa­tion Or­ren­do Sub­ot­nik.

Pig Earth - Exit Wound

A son­ic ex­pe­ri­ence won­der­ful­ly out of touch with the zeit­geist, craft­ed by some Belling­ham, Wash­ing­ton group. Prime in­flu­ence here seems to be a whole bat­tery of ear­ly-to-mid eight­ies, loose­ly SST and Touch & Go-con­nect­ed stuff - on the more strum­my, folk-in­fused side of things ad­mit­ted­ly, but nev­er afraid of spon­ta­neous­ly mor­ph­ing in­to short bursts of hard­core punk ei­ther. Most ob­vi­ous amoung those in­flu­ences would prob­a­bly be shit among the lines of Angst and Meat Pup­pets, ear­ly Di­nosaur Jr. and, sec­on­dar­i­ly, U-Men, Mud­honey and 80s Sci­en­tists, some very slight hints of Dicks and Wipers. Or al­ter­nate­ly, you might think of more re­cent Acts like ear­ly Milk Mu­sic, Dhar­ma Dogs, Chronophage and Damak.

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Romance - Seven Inches of Romance

A neat lit­tle yet-to-be-pressed 7" by a Syd­ney group sound­ing a lit­tle as if a more spiky ver­sion of Lithics col­lid­ed with the likes of noisy post punkers Brandy, the re­cent noisec­ore of Shove, a very slight hint of Wipers and the an­cient record­ings of noise rock­ers World Dom­i­na­tion En­ter­pris­es.

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Dregs - Enemy Not Me

Fol­low­ing up on their al­ready quite awe­some 2019 de­mo, Austin group Dregs shift their sound a good bit away from a more garage- and fuzz punk lean­ing sound, fur­ther to­wards a hard­er to pin-down mix of in­flu­ences on the fringes of 80s-to-mid-90s hard- and post­core, among oth­ers sug­gest­ing the likes of X (US), Dicks or Flip­per at some points, post­core groups like Gray Mat­ter or Dri­ve Like Je­hu at oth­ers while more re­cent bands like Vexx, Cel Ray, Gen Pop or Lit­tle Ug­ly Girls wouldn't sound too far off ei­ther.

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Affordable Repayments - Can't Win For Losing Some Days

This group from Por­tar­ling­ton, Aus­tralia cre­ates a dron­ing, sprawl­ing and nonethe­less ab­solute­ly rip­ping sound­scape that com­bines the traits of such time­less greats as Wipers, 80s Son­ic Youth, U-Men or Live Skull, just as much as a fuzzy clump of AUS and NZ groups like The Gor­dons, Fun­gus Brains, X and Feed­time.

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Soft Shoulder - Smile Building's Exit

Tempe, Ari­zona group Soft Shoul­der have been at it for way over a decade now and still seem as live­ly and pro­duc­tive as ever, hav­ing churned out a steady stream of sin­gles and EPs re­leased dig­i­tal­ly and as lim­it­ed lathe cuts the past year. Their newest LP presents them as fo­cused as they haven't been in a long while though, their quirky-as-fuck mix­ture of post punk and noise rock burst­ing with en­er­gy as catchy grooves some­what rem­i­nis­cent of The Fall from the late eight­ies on­ward col­lides with a de­cid­ed­ly no-wave school of noise and dis­so­nance.

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Catalogue - Modern Delusion

It took me a while to no­tice but the newest LP by Mar­seille group Cat­a­logue turns out to be their strongest ef­fort to date. Where their sound could still be a lit­tle tir­ing on their pre­vi­ous LP, they show a lot more va­ri­ety on their newest one keep­ing things in­ter­est­ing through­out. Their noisy post punk, as usu­al be­ing dri­ven for­ward by eight­ies-style drum ma­chine beats, may owe a lit­tle to Big Black in some parts, Live Skull in oth­ers or some no-wave dis­so­nance gets loaded up with catchy hooks. In House­plants we even get to hear some al­most synth-/new wave stylings.

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