BOY(MOUTH): Heavy Metal Bullshit Crossover Artists: CS

Sound(noise) is emitted from your speakers when you play this. If you always wished there was a way to get more of that beautiful table saw sound into your life, then this might be for you. If you enjoy the resulting migraine headaches, you might also enjoy this. –Chad Williams (Rotten Princess, rottenprincessrecords.bandcamp.com)

BOY(MOUTH): Lazyboy Manager E.P.: CD-mini

Noisy and insistent, this strikes me as vaguely art punk, vaguely folk punk, and vaguely garage rock all at the same time. I suppose if there were any level of production value this might have struck a chord with me, but without it, it’s just a jangly, grating mess. –The Lord Kveldulfr (Rotten Princess, rottenprincessrecords.bandcamp.com)

BOY (MOUTH): Trash Master: CD-R

Loud and thrashy two piece unit. The sound quality was better than expected considering the mini CD isn’t any bigger than an index card. It looks like one band member is in Oregon and one is in Michigan. I’m guessing live shows take some legwork. “Barbed Wire Reality” and “Code Blue Human Being” would definitely clear out your Mom’s backyard BBQ in five minutes. There is a Germs cover here, too. Wild. –Sean Koepenick (Rotten Princess, rottenprincessrecords.bandcamp.com)

BRAT CURSE: Self-titled: LP

Some good sugar rush power pop punk from the Midwest. Hooks galore, smart sonic textural work, and ventures outside the punk realm help broaden the record into something giant. Feels like it’s from the Ric Ocasek school of ’90s alt-rock production. Wouldn’t surprise me if this LP got sort of big. –Matt Werts (Just Because, justbecauserecords.bandcamp.com / Anyway, anyway-records.com)

BROKEN LINE, A: Rat Beach: CD

For about twenty seconds I thought this was decent-sounding beach punk, then for the rest of the first song I thought it might be “just okay” beach punk. After that I just couldn’t handle it. I was simultaneously bored by the music and annoyed by the lyrics. Their bio states “…lyrics that reflect the battle for faith in a difficult world.” Ah, there it is. Evangelicore. No thanks. –Ty Stranglehold (Thumper Punk, thumperpunkrecords.com)

CAVEMEN, THE: Night after Night: LP

This record is a nice shot of life: fuzzy, dance-y, party, beer swilling, lo-fi, garage rock, from New Zealand. These fellas do this brand of garage rock a cut above most, bringing to mind Jay Reatard, Ty Segall, the Muslims, and Black Lips. –Ryan Nichols (Slovenly)

CAVEXRAGE: I Believe In…: CS

Even if Cavexrage (yes, they pronounce the “X”), is nothing more than a parody of straight edge hardcore punk at its most simplistic, it is one of the most entertaining parodies I’ve come across in some time. As soon as we’re pronouncing the X in the band’s name, you get that there’s a joke going on. When you realize that the lyrics to the opening track “CaveXrage Stomp” are just the song titles of the songs on the tape, you start to feel like you’re in on the joke, even as you’re shamelessly bedroom moshing. The pinnacle for me is when the singer is too straight edge to play golf with his dad or read a book in the track “Twisted in My Head.” Come for the humor, but stay for the riffs, and you too will believe in CaveXrage. –Paul J. Comeau (Poop Stick, poopstick.bandcamp.com)

CHEAP PERFUME: Burn It Down: LP

Wow. The first song on this record is enough. “Put the Devil to Bed” is a scorcher. It’s one of those songs you hear for the first time and can feel is steeped in pure anger. The rest of the album continues in that vein: punk blasters with a unique voice that’s also comfortingly familiar. Vocals and backups are full-on yelling warbles, reaching the point of competing with each other at various points. The choruses are comprised of those simple lines you wish you’d thought of. “Times up/ times up motherfucker / times up” screams the chorus of the third song. And I believe it. The guitars are distorted just enough to leave in the ratchet chug of furious strumming in play. Even their somewhat unnecessary cover of Joan Jett’s “Bad Reputation” chugs with a punk’n’roll swing, bringing something new to a song you’ve heard a million times. Plus they yell “fuck” a lot and it all sounds like it could come crashing down at any turn. I don’t even know who to recommend this to. You should just like this. Eight songs on 45 speed and they really won me over with one play. This is a rejuvenate-my-interest-in-punk level slab. These guys sound like they’re really coming at you and I wish them the best. –Billups Allen (Snappy Little Numbers)

CHEAP PERFUME: Nailed It: LP

This is a reissue of a 2016 self-released record. Fast, loud, feminist punk. Dual vocalists make the music feel even bigger and extreme. The lyrics are a bit on the nose but they definitely are getting their point across. I’m never opposed to a band that makes their politics well known, I just prefer a little more nuance or personal touch like X-Ray Spex or dimber. Their 2019 release, Burn It Down, seems to achieve this subtlety a little bit better. –Emily T. (Snappy Little Numbers)

CHOKED UP: Dichoso Corazon: CS

A debut full-length featuring eleven songs of scrappy, lovesick pop punk. Not exactly sloppy, but definitely not clean and polished either. Songs like “Home” and “Last Night at Hey Queen!” have a familiar ’90s East Bay pop punk feeling with some solid rounds of whoa-ohs. The lyrics are mostly in English, with a handful of songs in Spanish—I wish I knew what more of them were, but the words are printed at about a .5-point font size and it’s just not going to happen for me. The lines I can make out are mainly about crushing on cute queers against a backdrop of fascist dystopia. Cristy Road’s signature melodic snarl brings it all together; this is a fun and fierce first album. –Indiana Laub (Self-released, chokedup.bandcamp.com)