MAXIMUM ROCK’N’ROLL #432, $4.99, 8½” x 11”, newsprint, 160 pgs.

It’s the final print issue of MRR. I’ll try to save my editorializing to a minimum, but I think it’d be lame not to mention the undeniable impact MRR has had on punk culture since its inception in 1982 (and as a radio show before that). As an older punk who navigated all this stuff pre-internet, MRR was an invaluable lifeline and absolutely formative in my understanding of punk, politics, and DIY culture. Throughout the decades, the zine could be riveting, and holier than thou, and compelling, and bighearted, and reactionary, and snobby, and well intentioned and moving. It was always informative, and always the sum of its parts; hundreds of people all tackling something together. Times change, and the print world has changed dramatically with it. Whether it’s a big deal or not that MRR is done is up to you. I know I’ll miss it, but I’m also profoundly grateful for the connections and knowledge it provided me as a young kid trying to figure stuff out. This final issue features interviews with Winston Smith(!), Apsurd, Provoke, Bush Tetras, the Toronto record store Faith/Void, and tons more. Plus photo spreads, international scene reports, columns, ads, and allll those reviews. It’s fitting too that designer Martin Sprouse, the cover artist for MRR #1, does the cover for this final issue as well. See ya around, MRR, it’s been real. –Keith Rosson (Maximum Rock’n’roll, PO Box 3852, SF, CA 94609)


Published originally in the Eugene Weekly newspaper, Out from the Void tells the untold stories of murdered and missing folks in Eugene, Ore. This issue focuses on murdered sex workers, in particular, Eryn Beth McClary, who disappeared in 1995 and whose case is cold. It also includes the essay The Encyclopedia of the Missing by Jeremy Lybarger, which is a profile of Meaghan Good, author of the Charley Project, a catalog of America’s missing. If you like bingeing true crime shows, this might be the zine for you. I’d like to see more, though, than the same narrative repeated—she was a drug addict and a sex worker, so of course she got killed. Eryn McClary was a drug addict and a sex worker, but there is always more nuance to a story, and addicts and sex workers are demonized and victimized enough as is. It seems a little derivative to reduce these women to victims of their circumstance, now just names on a list in a zine. Lybarger alludes to this in his essay, describing “missing white woman syndrome,” and it’s true. Everyone loves a beautiful corpse. No shame if true crime is your bag, or if you loved Monster, or whatever, but it’s about time that these people saw justice rather than fetishization. –jimmy cooper (


I went into this expecting your typical tired prototypical scene history—yeah, we all sat around, got drunk, got into fights, whatever—and to some degree, received it. But Punk in a Foreign Space, for one, is about a scene that isn’t well-known. I doubt most of the punks I know could name even one Russian punk band, and I couldn’t either, and despite this, Herbert’s story compelled me. You don’t have to know the bands to know the story. Herbert does a fantastic job of translating these people, bands, and cities into the recognizable while maintaining what makes it distinctive. Perhaps it is his academic background, but I found myself compelled by some of his deeper claims about the nature and psychology of punk wherever you may be, and that’s the real meat of this zine. Punk is only universal to a point, but where it is is what makes it worthwhile. When it becomes more, for Herbert, than “style and music,” it begins to “embody possibilities, empowerment, and alternatives to the monotonous lives” we live. After reading Punk in a Foreign Space, I’m excited to see where Herbert’s analysis of these possibilities lies: the book that this zine precedes comes out in September from Microcosm. Chapters of this zine are available as Punks Around #1 and Punks Around #5. –jimmy cooper ( or

PUNKS AROUND #6: ARMAGEDDON!, 5½” x 8”, 36 pgs.

Punks Around is Herbert’s ongoing series of zines by various authors cataloging obscure moments in scene history, his largely focusing on Russian punk, a few on North Dakota punk, and one on the role of the girls’ room as a place of sanctuary in punk. This one is, as it says on the cover, “A full issue dedicated to Rhode Island and Boston’s favorite punk and metal record shop (at least ours).” This zine is steeped in the kind of nostalgia that makes me want to tell the folks writing to either 1) make the feeling they’re longing for happen, or 2) let the kids have a little fun. Sometimes scene history is like this—a mourning for bygone days without respect for the contemporary. Of course punk changes, and scenes change, people and places come and go, but at the heart is the attitude and will that places like the Armageddon record store that is the focus of this zine exemplify, and that’s not gone, it’s just shifted. The kids are just fine, and punk is too. That being said, the highlight of this zine is the interview with the founder of Armageddon. That kind of dedication and work never go out of style. –jimmy cooper ( or

RAZORBLADES & ASPIRIN #5, $?, 5 ¾” x 8 ½”, Laserjet, 44 pgs.

This is one beautiful punk and hardcore photozine: the photos themselves, the colors, the layout. It all jumps off the page. As far as writing goes, there is a brief introduction and a couple of pages of record reviews; other than that are all-out gig photos. I really enjoyed this. –Ty Stranglehold (Razorblades & Aspirin, PO Box 23173, Richmond, VA 23223)

SLEEPWALKING (2019 reissue) $5, 5½” x 8½”, full-color copied, 32 pgs.

A comic about a bunch of punk kids hanging out in the park who decide to go to a house show. Some are dealing with alcoholism, some with breakups, and some with boredom. It’s just a day-in-the-life of these punk types. Oh, they are also portrayed as very realistic anthropomorphic woodland creatures. Clementine the possum, Mary the rat, Douglas the squirrel, et cetera. It’s a very “mumblecore” story. No huge plot or arc. Just a bunch of animals foraging from point A to point B. However, the artwork is awe-inspiring with hand-painted everything. The water colored backgrounds are especially good. You don’t see a lot of this handiwork in current comics. That cover is damn impressive too. –Rick V. (Lauren Monger,

SLINGSHOT #129, free, 11” x 18”, newsprint, 15 pgs.

Quarterly independent radical newspaper Slingshot is back with their summer issue. A really great essay includes a cover story on “sterilization in the face of climate change,” a think piece of one individual’s choice to get tubal ligation as a form of responsibility to not procreate in our current climate and instead focus on activism and bettering the world we live in. I also really enjoyed the other cover story on phone addiction in society and how it affects our brain chemistry and is essentially making us idiots in this internet age. Slingshot never falls short on eye-opening and thought provoking essays. It continues to be an essential free educational and radical newsprint. –Tricia Ramos (Slingshot, PO Box 3051, Berkeley, CA 94703)

SOME PEOPLE CAN’T DIE, free, 5½” x 8½”, copied, 44 pgs.

Not actually a zine, this is a standalone short story—10,000 words worth I am told —in standard zine format, concerning the ever-merry themes of addiction, suicide, redemption, more addiction, fraud, despair, and additional addiction. It’s a fun and easy way to experience drug addiction and failed suicide attempts without ever having to leave the comfort of your stone sober living room recliner! It’s the best of both worlds, I tell you! I was able to read this in exactly the time of my lunch break at work, and I thought it was a pretty decent break room read. My favorite sentence is “The dude that carried the words from his brain to his mouth was wearing moon boots and the person who met him there was rapidly descending into a pit of quicksand.” –Rev. Nørb (Sean Thomas Dunne, 1020 NW 9th Ave. #1112, Portland OR 92709,

SPIDDER #20, $?, 5½” x 8½”, copied, 30 pgs.

The band The Pine Hill Haints have toured Ireland many times, and over the course of time have collected ghost stories, haunting tales, and legends. In this issue of Spidder, we’re introduced to them. “The Legend of the Hellfire Club” is one such ghost story that is known by so many Irish that there are slightly different versions included in this zine. Short stories of card games with men who have hoofed feet, eerie meetings in lighthouses, and a cave of cats to name a few. Also included is a separate mini-zine in full color (featuring the story of the cave of cats). Perfect mix of spooky legends and illustrations of cat people to set the mood. –Tricia Ramos (Spidder, 1207 N. Wood Ave., Florence, AL 35630,

SUPER COOL AND STUFF #8, $3, 5½” x 8½”, black and white, copied, 24 pgs.

A comic zine about Ricky’s obsession with wrestling. It’s mostly comprised of one-page comics about body slamming his sister or skipping out on dances to watch ECW. There is a longer narrative in the middle about his wrestling action figures that tie into Ricky’s love for his grandmother. It’s really very touching. Ricky draws his characters big and prominent with wild facial expressions. And some of those strips are laugh out loud funny. It’s a quick and fun read. Even if you don’t care about wrestling. –Rick V. (Ricky Vigil, )