BROKEN PENCIL #85, $7.95, 8½” x 11”, printed, 72 pgs.

Long-standing “magazine of zine culture and the independent arts” that has somehow evaded my radar screen until now. I’m sorry I missed out. There are tons of reviews and shorter pieces, but unlike many other zine zines, Broken Pencil takes time to dig deeper, with great features on Hong Kong zinesters standing strong in the midst of the country’s ongoing political turmoil, and public murals as balm and pushback against the opioid crisis. Impressive and recommended. –Michael T. Fournier (PO Box #177, Sanborn, NY 14132)

DISTURBANCE, 5½” x 8½”, copied, 28 pgs.

This is a great resource for any local scene. Disturbance is based out of Wilmington, Del. and jam packs a lot of info for anyone looking to get into DIY music. For one, there’s a listing for all upcoming shows at the very front. The editor’s note is about the importance of all-ages, underground music spaces, as well as offering unsolicited advice to anyone reading who is interested in throwing house shows. Just hope the cops don’t email you! There are a couple of record reviews in here: one for Merger, and one for Eyebawl. The later band’s front person is also interviewed in this issue. To top it all off, there are adverts from several local businesses and bands, as well as some decent live band photos from shows past. Nice little snapshot into a local scene report. –Kayla Greet (Impetus, 13 Delaware Ave., Claymont, DE 19703,

TYPE 2: TRAVEL STORIES, $4, 5½” x 4¼”, color, printed.

I’ve loved the way Bryan’s photographs—particularly their portraits—trap moments and people in their messy entirety since we started trading zines a few years ago. Of course, this is the on-paper objective of most photography, to preserve and protect, but particularly now that everyone has a camera in their pocket (I say, as if I have been cognizant of living in an era where this wasn’t true), this often is not the case. I might go so far as to say that there are more empty photographs than those that mean something. Anyways, this zine puts stories of “type 2 fun”—awful while it’s happening, valuable, delightful even, in retrospect—alongside eight photographs of the people and places recounted. Memorializing despair and joy alike and blurring the lines between them, this is a super sweet zine. Also worth mentioning: as always, the prints are quality and the cover is a nice cardstock. Would also recommend checking out issues of Restless Legs, their long-running photozine, if you get the chance. –jimmy cooper (2220 16th Ave S Minneapolis, MN 55404,, [email protected])

ADRENALIN O.D.: Humongousfungusamongus Millennium Edition: LP

I’ve always liked this album. By 1986, most of the leading lights of the early ’80s hardcore scene had moved on to sonically lusher pastures, but AOD stayed behind to steer the ship and figure out where we could go with a musical format that was constantly signaling increasing proximity to a dead end. In some quarters, this is interpreted as the birth of punk/metal “crossover,” but I see it more as them trying to figure out something new-ish and cool-ish and innovative-ish to do in a genre that didn’t come equipped with a ton of standard options for post-market alterations. And when you lead your musical career off with “Paul’s Not Home,” where exactly are you supposed to go from there anyway?? Be that as it may, the songs that have always stuck with me from this record—the ones I played on my college radio show on a weekly basis—were the songs from the other side of the AOD emotional spectrum, the straight-up poppy stuff: The Spaghetti-O’s jingle, their brilliant rip-through of the Masterpiece Theatre theme, their somewhat less woke pummeling of “Hava Nagila,” and the album’s closer and spiritual centerpiece, “The Nice Song,” which both heralded and presaged the pop punk explosion soon to come. Judge this album as you will, but I see it as the last hardcore record worth owning. So there. BEST SONG “Masterpiece.” BEST SONG NOT ORIGINALLY WRITTEN BY A FRENCH COMPOSER IN 1729 AND BEST SONG TITLE: “The Nice Song (In the Key of D).” FANTASTIC AMAZING TRIVIA FACT: The deal on the cover photo is that everyone was supposed to show up to the photo shoot wearing the dumbest-looking thing they could find. Nice Germs shirt, Bruce. –Rev. Nørb (Beer City,

ADRENALIN O.D.: The Wacky Hi-Jinks of Adrenalin O.D. – 35 Anniversary Millennium Edition: LP

Considered by many to be one of the finest examples of 1980s hardcore, this record undeniably has a comedic sensibility that is all its own. First released in 1984, this new edition was made from the original master tapes and it sounds incredible. Beer City never takes the easy route with packaging, so in addition to a replica of the old insert and artwork, this version contains a full-color poster with never-before-seen photos, as well as liner notes from the band and others. This classic LP holds up remarkably well and is beyond deserving of the deluxe treatment Beer City gave its reissue. –Art Ettinger (Beer City,


There are two ways to hold a one-on-one conversation in a crowded room. You can either shout above the chaos and confusion, add to the malaise, or you can choose to talk quietly and force your partner to lean in and listen with intent. This experiment in brevity, the third in a split series with Ah Fuck and Rush Awesome, successfully makes both cases. Beginning with Ah Fuck, scene one is nine seconds of crossover thrash, followed immediately by a minute-plus of industrial automation, and finally twenty-some-odd seconds that ask you to lean in and hear a quiet voice in the civilization that replaced the wild. The Rush Awesome side of the cassette offers a counterpoint: one short meditative phrase that won’t allow you to shy away from the truth. Rewind. Flip sides. Walk over the coals and cool your feet in the river again. Repeat and repeat and repeat until death. You suffer? Ah fuck. –Jon Mule (Self-released)

A.M. NICE: Scooter: 7”

D.C.-influenced post-rock. Songs are well performed and aren’t teeming with the insincerity that plagued so many of the so-called emo bands of the last decade. Not my cup o’ poison, but they’re good at what they do. –Jimmy Alvarado (Phratry)


I could cry to this. Every term I can think of to describe this music seems too simple. I kind of want to call it indie rock, because that seems vast enough, but it doesn’t really do it justice. They describe themselves as sludgegaze, and I guess that edges close enough to describing the sound, but when I hear sludge I always think of sludge metal, and this version of sludge is just as thick but not as mean. It’s pretty actually, and there’s an intricacy to the layers and fuzz. I feel like somewhere in all this rich, sludgy, shoegazy gorgeousness there is a puzzle to solve. This is music that demands you spend some time with it, and that’s what I plan to do. –Emma Alice Johnson (MPLS LTD,

ANTHEADS: Think Fast: 7”

Well, Supreme Echo is back with another batch of archival Canadian punk rock 7”s I can’t stop salivating over. In 1979, Vancouver punk band Active Dog split up. A couple of members went on to join the Pointed Sticks, a couple more started bands like the Modernettes and Los Popularos. And the final two members started Antheads. This record was recorded in 1980 by renowned punk rock sound master Cecil English and sweet zombie jesus, does it rip! The songs are fast, melodic, angry, and raw all at the same time. I don’t know how they managed to get lost to the sands of time as so many great bands do, because I think these songs can go toe to toe with what contemporaries such as DOA were doing at the time (which was admittedly amazing). I am so happy that Supreme Echo keeps digging up these lost bands and giving them the releases that they deserve. If you have any interest in the early Vancouver/Canadian punk rock scene, you need to get this. –Ty Stranglehold (Supreme Echo,

ANTI-QUEENS, THE: Self-titled: CD

This all-female quartet from Toronto is majorly influenced by L7, gravitating to some of the heavier tropes in alternative music, replete with metal-ish vocals and a significant layer of guitar crunch. Partially funded by a foundation for Canadian artists called FACTOR, as well as the Canadian government itself, it’s a well-produced debut full-length by a band that’s been at it for about a decade. Suitably aggressive and hard-hitting; fans of seedy bar punk will dig it. –Art Ettinger (Stomp,