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Review: The Minneapolis Uranium Club Band's Infants Under The Bulb album is an engaging journey through unbridled punk creativity and raw guitar energy. Released amidst their hometown's vibrant underground scene, the album defies categorisation in the way it blends elements of punk, post-punk and experimental rock. With relentless rhythms, angular guitar riffs and cryptic lyrics, each track unfolds in heavy and arresting fashion and the band's unconventional approach and uncompromising attitude challenge listeners to embrace the unconventional throughout this most visceral of albums.

Review: Originally released in 2017, In Riot We Trust is the second of two studio albums so far released by feminist protest group Pussy Riot, whose provocative punk regularly takes potshots at Russian leader Vladimir Putin and his regime. Since 2011, the Moscow band founded by then-22-year-old Nadya Tolokonnikova has had the membership of 11 women, who are arguably most well known for their guerrilla gigs and stunts, often in sites of national, cultural, or religious significance. Despite the real focus of the group being on speaking out against issues such as Russia's ingrained sexism, homophobia, and racism, totalitarian rule and oppression of rights, and the limelight falling on their IRL actions, this is more than enough evidence that their rage and talent can be distilled onto record to some degree. Potent to say the least.

Review: Originally released in 1984 and celebrating its 40th anniversary this year, Initium would serve as the debut full-length from death-rock horror-punk outfit Samhain; the brainchild of Glenn Danzig (or Evil Elvis). Opting to disband Misfits in favour of redirecting his creative juices into a project he maintained more rigid control over, with the title even translating from Latin to English as "beginning", the LP marked a simultaneous embracing of more metallic, gothic rock and malevolent balladry, distancing itself from the Misfits' breakneck hardcore chaos. Arriving less than a full year after Earth A.D./Wolfs Blood, the transitional growing pains are evident with deep cut 'Archangel' being originally penned with Misfits bassist Jerry Only, while 'Horror Biz' is actually a re-worked version of the early Misfits single 'Horror Business'. Featuring Minor Threat guitarist Lyle Preslar on several tracks, along with Reagan Youth bassist Al Pike making a singular appearance, four decades on Initium continues to resonate as a vital piece of punk rock/deathrock/horror-punk history with its laying of influential foundations.

Review: .Often considered to be one of the biggest commercial flops in music recording history, Standing In The Spotlight was the 1989 debut solo album from Ramones bassist Dee Dee Ramone. Released under his rap moniker Dee Dee King, the bizarre project served up an amalgam of old school hip-hop, late 50s garage rock and even doo-wop, all blended together in chaotic fashion, and led by Dee Dee's new gangster bravura. It's been noted that the hip-hop-centric attire seen on the cover was adorned by Dee Dee at his last few Ramones shows shortly before departing, which drew major ire from his bandmates. Tapping Marky Ramone to oversee percussion samples, and even enlisting Debbie Harry (Blondie) to provide backing vocals on 'Mashed Potato Time', and, 'German Kid', with the latter featuring vocals sung in both English and German (nodding to Dee Dee's growing up as an army brat), the album was crafted with every earnest intention of launching Dee Dee's solo career. Conceptually inspired whilst in rehab and used as a project of focus when embracing his newfound sobriety; the sheer enthusiasm and fearlessness of Standing In The Spotlight grants it a pass and a place as a truly absurd offshoot oddity from a vital member of the one of the defining punk bands.

Review: Manchester genre bastardisers Sonic Boom Six have become renowned for their eclectic mashing up, and utter disregard for the parameters of genres such as ska, punk, metal, hip-hop, grime, dubstep etc. Whilst relatively creatively quiet since the release of 2016's fifth full-length The F-Bomb and the 2017 follow-up EP Cardiac Address, 2023 saw the release of the double A-side single 'Future Shock' b/w 'One Of The Boys'. Now it appears not only were those two new cuts designed to re-introduce listeners to the band, and whet appetites and beaks yet again, but rather they were the signifier of the arrival of the Re:Generation compilation, which places the two new bangers alongside a carefully curated batch of the band's personal favourite recordings from their definitive line-up over the past decade. What's more, there's also alternate mixes and freshly rejuvenated EQs of vital deep cuts and fan essentials. It mightn't be a new album, but it's the closest we're getting for now.

Review: Toy Dolls are a little-known but incendiary punk act from Sunderland, England; the band came together in 1979 at the pinnacle of the movement, at a time of fecund promise for genres such as oi!, industrial music and punk. As evidenced by their (now reissued via Radiation) third LP Idle Gossip, their sound is a riveting mixture of these. Its impeccably spacious sound and uniquely upper-register squeals, not to mention its male-female call-response patterns, transport the listener to a headspace of collective ecstasy, reminiscent of time spent watching your favourite team body the opposition, leading to a collective eruption of glee. Well worth listening to in tandem with their first two LPs, Geordie's Gone To Jail and Keith's A Thief, Idle Gossip is a quintessential, authentic slice of northeastern punk.