After a number of EPs which at first may have come off as all vibes and attitute with rather little in terms of substance, that thing has gradually improved over time and now i’ll say the welsh group has just released what may count as their most substantial release so far with their newest EP via Gob Nation, which i’ll also admit i like quite a bit more than most of the other only bands called the dogs. This is no more and no less than an all-killer batch of simple but dead-on-target ’77-ish, sleazed-up garage punk tunes making you wanna smash some shit.
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.
Manchester’s Gold Cup have already accumulated a number of notable EPs over the past couple years but in my book they really struck yellow for the first time with their newest golden shower of hits that is their fourth EP, walliowing in a sleazed-up hard-rockin’ garage punk sound that seems to channel kind of a Golden Pelicans energy while in tunes like opener Zero Percent and closing tune King Crab, they refine the formula with faint echoes of oldschool AmRep-Style noise rock and a subtle hint of 90s postcore. Stuck On Repeat on the other hand is a catchy-as-hell borderline powerpop-ish tune of the highest caliber and The Piss Has Been Taken reminds me of another quite yellow jet of a band, Australia’s own Pist Idiots.
Gripper from Philadelphia have crafted a delightful debut EP here that in a way channels all of the unabashedly hard-rockin’ fun and power pop hooks of the early Sheer Mag singles, leaving out most of the southern rock flourishes but getting all the basics right in a flawles set of two incredibly infectious and catchy pop nuggets and two equally rippin’ and appropriately sleazed-up garage punk gems.
This Montreal group’s previous two EPs were already each a fat bucket chock-full of sleazy-ass rock’n’roll bliss and now they really hit it out of the ballpark with their first full-length effort, on which they considerably expand their stylistic color gamut and dial up the catchyness to eleven of their already dangerously combustive recipie made up of garage punk, hard- and postcore elements, a slight hint of Oi! and lots unapologetic dabbling in sweaty ’70s hard & heavy dad rock territory while in tunes like Never Enough, there’s an undeniable hint of roots-y folk- and cowpunk going on aswell. Immediately this shit strikes me a bit as a significantly dumbed down version of that recent Punter LP and further reminds me of a colorful bunch of sleazecore acts á la Cement Shoes, Golden Pelicans, Flea Collar, Cülo, Cutters, Polute and Chain Whip.
While their debut LP from 2023 had the character of a colorful grab bag of different styles and flavors, the sophomore album of this Cincinnati, Ohio group featuring members of, among others, The Drin, The Serfs, Vacation and Crime Of Passing, comes across as a good bit more homogenous with the common thread here being a comparatively sleazy, hard-rockin’ garage punk sound occasionally bordering on dungeon- and motörpunk territory with strong similarities to the likes of Cement Shoes, Golden Pelicans, Cheap Heat, Pïss Bäth as well as AUS/NZ groups like Hög, Polute, Split System or maybe Alien Nosejob’s sleaze rock record Stained Glass a while back, yet there is still plenty of nuance and variety crammed into in these tunes regardless. Currency has a strong feel of classic Saints, Radio Birdman and Scientists while Afraid of Guns melds propulsive power pop harmonies with psychedelic undercurrents and textures. Speaking of which, the band members’ connections to The Drin and The Serfs become quite obvious for a change in the spaced-out, kraut-ish Gears Never Dry. Quite Nice and to a lesser extent, What Have I Done radiate a hazy, cowpunk-ish heartland rock vibe, Nie Wrócimy has a bit of an MX-80-esque proto-/art punk bent to itself and i totally shouldn’t fail to point out the four bonus tracks of the digital edition, among which the record’s most catchy, power pop-ish tunes Error, Flowers and the Wire-esque Ffion deserve special mention.
The Debut EP of this Brisbane group delights with four energetic blasts of no-frills garage punk/-core, a hint of death rock in the opening- and closing tracks, some distinct proto punk feel and constant flourishes of sleazy ’70s and ’80s cock rock – a somewhat unreal sounding mix that reminds me a lot of groups like Cement Shoes, Golden Pelicans, Tarantüla, Flea Collar, Polute and the early days of Electric Chair.
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.
A kickass EP of this Glasgow group originally released roughly a year ago, now hopefully getting saved from relative obscurity by local label Gold Mold Records who’ve just reissued this beauty digitally and on cassette. On it, we get fresh supply from the realm of dungeon punk-ajacent noise reminiscent of a whole range of groups like, naturally, the current genre overlords Poison Ruïn, the heavily motörized/sleazified garage punk of Cheap Heat, Golden Pelicans and Polute, hard-/postcore-leaning acts like Tarantüla, Bloody Gears and Video.
This Schenectady, New York group kicks up a perfect storm of somewhat motörized noise somewhere between the corner points of garage punk, hardcore and sleaze rock on their demo tape. A highly combustible recipe that should mix well with other acts á la Cement Shoes, Polute, Hippyfuckers, Flea Collar, Dollhouse, Cülo… and maybe just a smidge of hardcore-era Hüsker Dü on top.
