Top 13 Punk Records of 2024 with Iggy Punx

I can see this release landing on plenty of “best of the year” lists, and I’m no exception. Lots of people will probably share their thoughts on this album—likely more eloquently than I can—but here’s my attempt to add my two cents. Earthworks is the third release by the New York-based duo Straw Man Army, made up of Owen Deutsch and Sean Fentress, who you might recognize from other projects like Kaleidoscope, Tower 7, and D4MT Labs Label and Studio. As I’ve read, this album is meant to wrap up a trilogy the band has been crafting over the last four years—and it’s an absolute masterpiece.

The trilogy tells a powerful story: the first album looked at the past, discussing the legacy of US colonialism; the second focused on the present and was named one of the best albums of the year by Bandcamp, The Washington Post, and NPR. Now, Earthworks sets its sights on the future, and I predict it will earn a place as one of this year’s defining releases.

Earthworks, like the two albums before it, is out on the excellent labels La Vida Es Un Mus and D4MT Labs Inc. It delivers a striking blend of post-punk and anarcho-punk, with touches of ambient and krautrock, all underscored by politically charged lyrics. It feels like a prophetic soundtrack to these turbulent times—a reflection on what has happened and a warning of what is yet to come. The album is packed with pointed statements that confront our reality, including lines like: “America! It’s not a country, it’s a business,” “NYPD, KKK, IDF—they’re all the same, just different names,” and “United States of Occupation.”

The sound of Earthworks evokes comparisons to iconic bands such as Crass, Zounds, This Heat, CAN, and even Pink Floyd.

If you’ve never listened to anything by Straw Man Army, I highly recommend setting aside time to dive into their entire discography. Play all three albums back-to-back and enjoy the ride.

P.S. Interested in learning more about the band and this release? Check out this interview on see/saw, and don’t miss this review on DIY Conspiracy.

Kroz Pukotine (“Through the Cracks” in Croatian) is the debut full-length release by Koridor (“Corridor” in Croatian), a dark-punk/post-punk quartet from Zagreb. It came out via Doomtown Records, arguably one of the most influential labels in the city. If you’re curious about music from the ex-Yugo region, you really need to explore everything Doomtown has to offer. This album features nine tracks that will grip you from start to finish—at least, that’s how I felt the first time I played it. The band shares members with The Celetoids, Indikator B, and Dezinformacije, so fans of those bands will find plenty to love here.

Musically, Kroz Pukotine blends dark post-punk with strong influences from the ’80s Yugo punk scene. Sometimes the sound shifts toward danceable rhythms, like on “Ruševine.” Doomtown Records mentions influences such as Christian Death, Padkarosda, and GRČ’s cult dark-punk album Sloboda Narodu, and I completely agree with those comparisons.

The lyrics are another standout feature of this release. Once I finally translated them, I was struck by their metaphorical, dark reflections on everyday life and the world at large. They’re beautifully written and resonated deeply with me. There’s something about how bands from Eastern Europe articulate their thoughts that feels very close to my own understanding of the world—maybe it’s the “eastern connection” I often talk about, haha.

If you’re into dark, introspective punk music with a distinctive edge, Kroz Pukotine is not to be missed. It’s a debut that promises a lot more to come from Koridor, and it further solidifies Doomtown Records as a must-know label in the punk scene.

Let’s continue exploring Eastern Europe’s thriving punk scene. Here we have the first full-length release Wrzask (“Scream” in Polish) from Warsaw’s dark fury, Träume (“Dreams” in German). It seems Poland’s punk and hardcore scene has been exploding with amazing releases in recent years, and this quartet is a prime example of that trend. I must say, I was eagerly awaiting this album after their EP Obłęd was released two years ago. Many of you may have already seen them live—they’ve played plenty of shows—or maybe that’s just the impression I got because I haven’t had the chance to see them myself yet.

Träume offers a compelling mix of post-punk-inspired dark melodies and occasional bursts of furious hardcore punk. The closest comparisons would be Siekiera and Zbombardowane Laleczki. The lyrics—as far as I can tell via an online translator—seem to reflect personal experiences of surviving day-to-day life, which is never easy and often comes with a raw emotional edge.

The vinyl edition of Wrzask was released by Quality Control HQ in London, while the cassette version was self-released by the band. The album features eight tracks, and as the description notes, there’s a hidden track you’ll only find on the vinyl—so pick up a copy while you can!

For some reason, I only discovered this release really late—towards the end of November—a few months after it came out. Why? It was released exclusively on vinyl and not on any digital platform, at least officially. And honestly, that’s great! Nowadays, people pay little attention to physical formats. Speaking as someone who runs a small record label, I know this all too well.

Muro (“Wall” in Spanish) is pure insanity—whether we’re talking about their live shows or their recordings. Whenever I listen to any of their releases, I immediately picture their gigs or recall the one I attended years ago in Copenhagen. It was wild beyond words. This is the band’s third full-length album, and they’ve continued to unleash their hurricane of sound. It’s a ferocious blend of hardcore punk, infused with fast metal riffs and a raging d-beat drum section that assaults you repeatedly.

I have to admit, I don’t own this on vinyl yet—it’s not so easy to find in Europe—and I haven’t been able to read the lyrics anywhere. My Spanish skills aren’t great yet, so I’ve only caught a few ideas from the song titles.

Nuevo Dogma (“New Dogma” in Spanish) features 10 rabid tracks, released on vinyl by Fuerza Ingobernable, a small Bogotá-based label run by Carlos Velásquez—who’s not only in Muro but also part of the Rat Trap collective in the city. The band shares current and former members with many other excellent acts, like UZI, Final, Ayucaba, Irreal, Tumbas, Unidad Ideológica, Alambrada, Ataque Zerø, and more. You can still find the album online, but I strongly recommend seeking out the vinyl—and if you manage to grab a copy, please let me know where you found it!

Someone Else’s Dance—already reviewed here—is the second full-length release from Canal Irreal (“Unreal Channel” in Spanish), based in Chicago, Illinois. Like their debut, it comes to us through Beach Impediment Records in Richmond, Virginia—a label that’s been putting out top-quality releases this year and in years past. Definitely worth exploring their catalogue!

If you’ve never heard of Canal Irreal, here’s a bit of context: the band features Martin Sorrondeguy (Limp Wrist, Los Crudos, Needles, etc.) on vocals, Lupe Garza (Espejos, Sin Orden, etc.) on drums, Fernando Anteliz (Espejos, Cold Lovers) on bass, and Scott Plant (Broken Prayer, Cardiac Arrest, etc.) on guitar. If that lineup doesn’t make you want to check out this record (and their previous one), I don’t know what will.

Musically, I’d describe it as fast post-punk tailored to hardcore punk fans. It’s dark and brooding, yet it makes you want to move—whether that was intentional or just my own impression, it certainly works for me.

Someone Else’s Dance features 11 tracks (including one bonus track) spanning around 30 minutes, which feels just right. The cover art and overall design were created by the band, and I suspect Martin Sorrondeguy had a big hand in that (just a hunch). That personal touch only adds to its charm.

Die Verlierer (“The Losers” in German) might be one of the most hyped bands from Berlin and Germany for audiences abroad—or at least that’s how it seems to me. Interestingly, quite a few people in Germany, or at least in my circle, aren’t really aware of them. Yet internationally, many people outside Germany know about them or have at least heard the name. Fun fact: I saw them live for the first time in Barcelona in 2023 at the Greetings From Barcelona Fest Vol. 1. Before the show, someone told me they were like a “boy band from Berlin.” The only parallel I could draw was how each member takes turns singing entire songs—but honestly, it’s cool, isn’t it?

Notausgang (“Emergency Exit” in German) is their second full-length release, and compared to their first, it comes across as more thoughtful and cohesive—like a single, solid Kunstwerk. Sorry for contributing to the hype, but I truly love this album—I’ve listened to it countless times.

I’ll admit, living in Germany lately hasn’t been my favorite thing, and maybe part of that is because over the past eight years, I’ve almost perfected my German. I can understand nearly everything people around me talk about—everyday conversations, banal stuff—and sometimes I catch myself thinking, why on earth do I understand all this? But when it comes to Die Verlierer, I love that I can fully grasp their lyrics. Their songs are a potent mix of hate, fury, frustration, and a hint of love.

Add to that their over-fuzzed guitars, tight drum rhythms, post-punk garage vibes, psychedelic touches, and massive nods to the golden era of German punk—the ’80s post-punk and Neue Deutsche Welle (NDW)—and you get something incredible. Some references that spring to mind include Isolierband, Ton Steine Scherben, Abwärts, Hans-A-Plast, and Ideal.

Notausgang has 14 tracks, about 45 minutes in total, and features great artwork: the cover shows their bassist sprinting in a leather jacket emblazoned with the band’s name. The album is available on vinyl and cassette through the fantastic Berlin-based label Mangel Records.

C’est Déjà L’heure (“It’s Already Time” in French) is the first full-length release by the amazing Parisian power pop quartet Alvilda, following their 2021 EP. I tried to find out what their name means—it could be something like “Wild Elf,” or so I’ve heard, but I might be mistaken. If you have any insight, please let me know. Members of the band are also involved in some fantastic Parisian Oi! projects, like Bromure and Squelette. I already loved them when their EP dropped, and after hearing their first single “Angoisse,” I was counting the days until this album arrived. There’s even a music video for “Angoisse,” which is absolutely worth checking out. Honestly, this may be one of the most beautiful releases of the year—if that’s a fair way to describe music. The album came out on Static Shock Records from London, which only adds another layer of credibility to this stellar record.

Musically, it’s irresistibly danceable power pop with strong influences from ’80s French pop and rock bands, plus a hint of surfy undertones (or maybe that’s just me). My first thought was the incredible French ’80s rock band Les Calamités, but Dolly Mixture and Chin-Chin would also be fine points of comparison. If this album had emerged in the ’80s or earlier, Born Bad Records in Paris would have been the perfect home for it.

The record includes ten well-crafted tracks, totaling around 30 minutes. I’m writing this while listening, and I just can’t stop. Sadly, I haven’t managed to score a physical copy yet, but it’s at the top of my list—I definitely need one!

Fuera De Sektor (“Out of Sector” in Spanish) is a punk quartet from Barcelona, featuring members of other amazing acts like Algara, Barrera, Ultra, Foc, Glam, and more. The band’s name likely comes from the Los Violadores song, and that influence is reflected in their music—at least, that’s how it feels to me. Their label also suggests references like Los Ilegales, Los Traidores, Desechables, and L.A.’s X. The band played a lot of shows this year, even embarking on a big US tour with around 19 gigs—pretty impressive! Unfortunately, I haven’t had the chance to see them live yet, but I’m really hoping to catch them next year.

Juegos Prohibidos (“Forbidden Games” in Spanish) is the band’s second release and their first full-length album. It was released on La Vida Es Un Mus, a London-based label that’s been one of the most outstanding over the last two decades. They put so much effort into everything they do that I could easily make a “Top 10 Records of the Year” list solely from their releases.

As for the album itself, it’s melodic, danceable, occasionally melancholic, and brimming with emotion—it’s simply perfect, which is why it deserves your attention. The record comprises 11 excellently arranged tracks that flow seamlessly from start to finish. There’s also a very stylish cover featuring the singer, and a really cool music video for the song “Escapar” that tells quite a story—it’s definitely worth watching.

Lazer Bullet is a fast-as-hell, furious hardcore punk band from Portland, Oregon, and Spirit Suck Shit is their debut release. It came out on cassette via Convulse Records from Denver, Colorado, and naturally, there’s a seven-inch vinyl version from Black Water Records in Portland, Oregon. If you’ve ever visited Portland, you probably know this legendary spot. I can see this record ending up on plenty of “Best Of” lists.

A good reference I’ve seen is early Poison Idea, and I couldn’t agree more, both musically and attitude-wise. It also reminds me of C.H.E.W., which makes sense—fast, broken rhythms paired with super-angry vocals are executed perfectly here.

Spirit Suck Shit contains eight songs, almost all under two minutes, crammed onto a 7-inch format. I think that’s a perfect match. I know some people aren’t fans of 7-inch records, but I believe that’s just laziness when it comes to flipping sides. Plenty of releases fit this format just fine—look at every Warthog record. I still can’t picture them on a 12-inch. Plus, the artwork was done by the band members themselves, giving it bonus points. Of course, it looks great.

Oh, and I almost forgot—100% of digital and live show proceeds go towards E-Sims for Gaza, so there’s another reason to check it out.

III is, surprise, the third release by Enemic Interior (“Enemy Within” in Catalan), their third EP, to be exact. The band comes from Barcelona and shares members (or ex-members) with other excellent groups like Aliment, Univers, Wind Atlas, Heather, and more. Enemic Interior has been on my radar since their debut in 2022, when they released their first 7-inch. That record was fantastic, as were the second and, naturally, the third—always a thrill!

As for this particular release, it’s likely one of my most-played records of the year. I’ve spun it countless times, especially around the period when the band played a gig in Hamburg, which was terrific. Cheers to Marc, who drove them, and to the band themselves. Through Marc and his Matalamusica Records, we collaborated with my own Brainwasher Records on another amazing release by the Valencian band AMØR. It’s always a blast catching up with him somewhere.

Enemic Interior delivers a top-notch blend of Oi! and punk rock with some hardcore punk and post-punk influences, featuring lyrics in Catalan, which I believe focus on personal life experiences.

This release contains five songs, totaling about seven minutes, and was released on a 7-inch by the one and only Mendeku Diskak (check our interview with Eduard here) from the Basque Country. The excellent cover art, created by David Sota—just like their previous covers—fits perfectly.

Prise Rapide (“Quick Take” in French) is a trio from Paris and Montreuil, and this is their debut release. I had the chance to play a show with them in Metz, together with my band Betonwelt and another cool Parisian band, Le Cœur des Garçons. It was one of the most memorable gigs of our tour—at least for me. They’re all really lovely people. We had a great show and a good time afterward. I’d absolutely love to see them again, and I highly recommend checking them out.

The band plays a mix of indie garage punk with occasionally sad, melancholic lyrics. They share members with other awesome DIY bands like Bitpart, Mary Bell, Going Away Party, Légumes Sex, Fat Beavers, Oh, No! It’s DIVA, and many others. You can tell they’ve known each other for a while, forming different projects, and together they radiate a harmonious vibe that wins you over right from the start. A huge bonus is that all members take turns singing parts or even entire songs, and it works perfectly in this style of music—I love it!

Their album features eight songs and was released on cassette by two great labels: Dirty Slap Records from Lille and Yoyodyne Records from Montreuil. If you haven’t checked them out yet, you definitely should.

As a bonus, here’s a release from my motherland, and it’s actually “quite close” to my hometown. This band definitely deserves your attention. Бакурли (I’m unsure of the meaning—feel free to enlighten me if you know) is a trio from Petrozavodsk, near the Finnish border, which was part of Finland about 100 years ago. The city is known in Russia as a left-wing, antifa stronghold—at least it used to be. I’m not sure how things stand there now. As far as I know, the band has been (or was) based in St. Petersburg in recent years, with members also involved in other excellent projects like Footstep, Гольф Клуб, Белый Китаец, Dottie Danger, Distress, and more.

Лекарство от жизни (“Medicine Against Life” or “Cure for Life” in Russian) is already Бакурли’s eighth release in as many years, and it’s absolutely fantastic. I’ve been following them for a while and really love their attitude. The lyrics are often quite simple but infused with political content—delivered in a way that reflects what’s possible in this country right now, although those in the know will understand. Musically, it reminds me somewhat of Turnstile, perhaps.

This EP contains four high-energy tracks with lyrics in Russian. It was released by Fuzz and Friendship—at least, they seem to be responsible for putting it on streaming platforms. And yes, a seven-inch is set to come out on Suckerpunch Records.

I actually considered including a record that doesn’t directly connect to punk, but at least does so indirectly—I even started writing about the new Molly Nilsson release, Un-American Activities (at least I mentioned it here, haha). But then I remembered another record I listened to a lot this year, one that’s more valuable to me personally. Okay, it’s not exactly a punk record, but I’d still call it one: it’s got the attitude of a solid punk release. And what’s punk, anyway? To me, it makes no sense to be too strict about categories. I’m also still really in love with emo music, and this record has everything an emo fan could adore. I love it no matter what. I used to listen to a lot of emo, screamo, and math rock back in the day, and I basically had this record on repeat all summer. So, enough excuses! :)

Re-read is a fairly young band from Kyiv. They have that unique sound of Eastern European emo punk bands—maybe it’s just my personal take, but after going to a ton of these gigs in my younger days, I think I can say that with some confidence. This record reminds me of a more pop version of the band Салют!, also from Kyiv. This city has a rich emo punk tradition, so there’s another reason to explore music from this region.

П​о​в​с​я​к​д​е​н​н​і​с​т​ь​, д​р​а​м​а​, р​о​м​а​н​т​и​к​а (“Everyday Life, Drama, Romance” in Ukrainian) has ten tracks, dealing with “how our perception of the world changes as we grow up, and how important it is to preserve the child within—the child each of us once was. It’s also a story about accepting oneself in the world and, of course, about cats and dreams where we find peace.” That’s how Re-read describes it, and no further words are needed. Just hit play and enjoy! The band was also featured on the awesome Ukrainian Indie for Independence pt.|| compilation in 2023, which was super cool—so give that a listen, too.

Benefits // Compilations:

Some memorable mentions you might be interested in checking out and supporting. I’m also kind of proud that some of the bands from my label were part of these compilations:

• Support Radical Aid Force and Help War Victims UA
• Compilations by Black Ploshad, donations go to Help War Victims UA
• Ukrainian Indie for Independence pt​.​|​|
• BATS FOR PALESTINE on trait d’union
• Punx For Gaza – Benefit Compilation For Mutual Aid In Gaza on Sentiero Futuro Autoproduzioni
• NO GENOCIDE / NO OCCUPATION / YES LIBERATION: Benefit cassette compilations curated by the anarcho-punk band The Dissidents.
• Gegen Jeden Genozid: German DIY punk scene against the genocide in Gaza.

If you have more solidarity compilations, write them in comments.