Top 15 Punk Records of 2025 with Iggy Punx

Seudo Youth out of Los Angeles, California are here. A new, young hardcore punk anarcho youth crew in the best traditions of Minor Threat, drilling straight into your brain. Maybe even better than Minor Threat itself. Sorry, Minor Threat, but it’s obvious that by 2025 bands have perfected the sound of their influences into a new dimension, and that’s exactly what kids should be doing. I’m not that old, haha, even if it sounds like it. Members of the band are also involved in G.U.N.N., Diode, Advoids, People’s Temple, and more, so yeah, you can imagine how good this record actually is.

Nobody Gets Down Like… Seudo Youth is the first full-length release by Seudo Youth, following their cassette Know Where Ray Cappo Lives, which came out last year on Under The Gun Records. This first full-format release is very fresh and very fast, with a strong, traditional ’80s hardcore youth crew influence, perfected to another dimension. Twelve songs, roughly one minute each. Some are shorter, some a bit longer, but there are no two-minute songs here. It feels like you take one breath and just hold it until the record ends. Fast drums, sharp riffs, straightforward vocals. Everything is there. Grab your skateboard and hit the streets.

The artwork is really well done and explains everything you need to know. “An American Hardcore Record.” And yeah, it definitely is. Peace. I’ve watched some of their live videos as well, and they’re intense and entertaining in the best possible way.

This record came out on Going Underground Records out of Bakersfield, California, home to G.U.N.N., Generación Suicida, The Achtungs, Skull Cult, and more. Their discography is definitely worth checking out. It’s solid all the way through.

Spleen is an Oi- and hardcore punk–influenced post-punk band from Montreal, Québec, spiced with mod revival touches and a bit of krautrock attitude. The band features members of Puffer, Béton Armé, and Faze. If you missed their debut last year, consider this your warning shot. I actually wanted to include Puffer or Béton Armé on this list as well, because I truly love those bands, but Spleen feels like a solid synthesis of those two collectives.

II, as you can imagine, is Spleen’s second release. It feels a bit less lo-fi than the first one, but also more thought-through, and at least for me, every song is a straight-up hit. It’s very melodic, very catchy, and very driving. I remember hearing it for the first time last winter and immediately wanting more and more. Now, while writing this, I still want even more. Fingers crossed for the next one.

I couldn’t find the lyrics online, so unfortunately I can’t say too much about them. Judging only by the song titles and the overall atmosphere, the record feels like one long, suffocating meditation on being too fragile for a brutal world. That said, this is just a guess.

The cover artwork shows a kick-ass, crying, angry heart. Is it angry and crying because there isn’t enough love, or is it about to kick your ass until you learn how to love it? I’m down with both. My ass is kicked, and I love this record with my whole heart.

It was a bit hard to find live videos, but there are some out there. Last year they also dropped a music video for the song “Sans Espoir,” which I truly love. Check it out if you don’t know it yet.

This release came out on cassette via the already legendary RoachLeg Records, alongside the no-less-great No Fuss Tapes out of Vienna. Check out No Fuss Zine as well. It’s totally worth reading if you’re into Oi!. A perfect fit, if you ask me.

Astio from Trento, located between the mountains of South Tyrol, have become one of my favorite bands of the last few years, and not without reason. This kind of music hits straight to the core of my heart. Even though I don’t speak Italian, this record finally gave me a good reason to dig into and translate the lyrics.

Astio are a post-punk quartet from Trento and also the people behind Dirty Carpet Shows, which seems like a really great space, at least from the outside, for someone who still hasn’t made it to Trento. The band started back in 2018, if I’m reading their discography correctly, and have already put out several strong releases. The split with NAG is especially worth mentioning. Members also play, or have played, in other solid projects like Impulso, Sloi, Left in Ruins, Hrtbrkr, and more.

Tempio Inganno (translated as Temple of Deception) is the band’s first full-length release. After a few splits and EPs, it finally came out this year, and for me it was a real game-changer. Something that pushed an already beloved band to the next level. The record is melodic and melancholic, but still has enough drive to make you dance your weirdest dance, whether that’s at a show, at home, or just in your head. And if you’re in the right mood, “Bisogno Centrale” can even feel like the wildest Italian party imaginable. At least that’s the vibe I get from it.

Everything on this record works incredibly well together. There are no sleepers here. Basically all hits. And yes, there’s a saxophone on one track. Which one? Just press play.

Lyrically, Tempio Inganno is built from aphorisms scraped from a psyche under pressure. I’m really drawn to this kind of writing. It leaves space to think and to connect the fragments yourself, while making it clear that this is about our shared reality. Personal collapse tied to a corrupt state sliding back toward feudalism. There are no slogans and no easy lines to chant, but plenty to sit with and chew on. That tension is what makes these lyrics hit harder than most.

I’m also the kind of person who looks at the artwork first. It’s the initial impression of a record, before you even hear a single note. For me, the artwork for this release is very striking and abstract, created by Zachary Hobbs, and definitely worth checking out alongside his other work.

I also had the chance to see Astio live twice. A few years ago at Fluff Fest, and again this year in Berlin at the May 1 show at OGH. That one was legendary.

There’s also a music video for “Carezza Violenta,” filled with tour and gig footage. I love videos like that. It came out in the spring, right when I was planning my next trip, and it gave me a lot of those good, restless road vibes.

The record was released on 12-inch vinyl by the legendary Agipunk Records from Bologna, and on cassette via Gone Blind Records from Indonesia and the equally legendary A World Divided Tapes from Tunis / Canada.

Autor caught my attention at Fluff Fest many years ago, basically the only time I’ve seen them live, and I fell in love with the band straight away. Autor are an international post-punk quartet based in Vienna, with roots in Bern, Manchester, and Puławy. Vienna has become something like my third home over the past few years. I love the city and come here a few times a year. The scene is incredibly alive, especially after the COVID lockdown, while punk in some cities almost died or fell into such a deep sleep that it still hasn’t woken up. Viennese punks exploded out of everywhere. So many new young bands making wild, great music. Autor are one of those examples, even though the band is split between cities, partly in Vienna and partly in Brussels, which at least explains why catching them live is so rare.

Kommen und Gehen (translated as Coming and Going) is Autor’s third release, following two cassettes, and their first to come out on vinyl. It keeps the dreamy but foggy vibe of the previous record, Nektar, but feels more thought-through this time. It’s a dreamy and melancholic record that gives you the feeling of being lost in the city, in relationships, and in the grind of work.

Eight songs of different lengths flow together like a story you want to hear over and over again. Sharp, dark, and urgent, they feel like snapshots of people stepping on each other, of work and money taking over everything, and, of course, a bit of Viennese complaining about, well, everything. Sorry, Vienna. This is exactly why I love you. Packed with metaphors and aphorisms, the lyrics leave space to think while hitting hard on themes of alienation, control, and everyday chaos.

The cover artwork deserves a mention as well. It’s instantly catchy, the kind you see and want straight away. It was created by Liv B, also known as Billo, who is behind many of your favorite Billo Tonträger covers and much more.

It’s not easy to find videos of the band, but I managed to dig up a few, and I desperately need to see them live again. Let’s make that next year’s plan.

Necron 9 are a wild hardcore punk quartet from Milwaukee, Wisconsin. They’ve been active since around 2023, at least judging by when their first demo dropped.

Necron 9 really caught my attention when people started proposing them for this year’s K-Town Hardcore Fest. And yeah, their live tornado on the stage of Ungdomshuset was legendary. Easily one of the best live bands at this year’s K-Town, at least for me. They were on tour with their label mates Cicada, and the label itself was involved as well. Shout-out to Cicada, by the way. I honestly needed some time to decide whether to put Cicada or Necron 9 here. If you ask me, both deserve a spot on any best-of list.

I had already heard this record by the time they were announced, but it didn’t really stick in my mind at first. Then I came back to it and, honestly, what the fuck. Why didn’t I listen to it a few more times earlier? This thing is so good and so straight in your face.

People Die is a fast hurricane of hatred directed at day-to-day reality. It’s fast, it’s short, and it’s packed with banger riffs and driving drums. There aren’t many words, but every line hits hard. Desperate, urgent, frantic blasts of sonic lunacy driven by a world gone mad. Yeah, that Bandcamp description actually nails it. At the same time, it’s genuinely entertaining, with some seriously catchy parts buried deep inside all the violence.

Lyrically, this record doesn’t hide behind metaphors. It deals directly with racist cops, people who don’t stand behind their words, yes, posers, state violence, media numbness, and people dying under fascist imperialist states. Everywhere power needs bodies to justify itself. Politicians, pigs, war machines, and spectators glued to their screens all get dragged into the same mess. Death here isn’t abstract. It’s normalized, televised, and force-fed until outrage turns numb. You can read all of it in the small lyrics zine included with the record, which is awesome, by the way.

The artwork is just as strong. The whole package feels like a proper punk release, not just a record with a cover. The zine layout, the cut-and-paste visuals, and the imagery of death, money, rotten capitalism, and unhinged people in power all make the message clear before you even drop the needle. Ugly truths with no decoration. I love it.

If you’ve never had the chance to see Necron 9 live, fix that as soon as you can. There are some live sets on YouTube, sure, but it’s not the same. Still, watch one, and I guarantee they’ll land on your must-see list immediately.

People Die came out on Unlawful Assembly from Milwaukee, Wisconsin, the band’s home turf. If you somehow aren’t aware of this label yet, now you are. It’s one you need to know if you’re into modern hardcore punk that still means something.

Kaleidoscope are back with a new fast hardcore anarcho punk record that goes straight for the throat. I was genuinely surprised to see this release. One of those hits-you-in-the-head moments that leaves you frustrated, shocked, and ridiculously happy all at once. Kaleidoscope are a New York City anarcho hardcore trio, active since around 2015. Their previous full-length, After the Futures…, along with Decolonization, were among my favorites when they came out. Members also play in other great NYC bands like Tower 7 and Straw Man Army, and, if I’m not mistaken, are also involved in D4MT Labs. Correct me if I’m wrong, this is just a guess.

Cities of Fear is their second full-length, and here you get dark, dystopian hardcore punk with a strong anarcho-punk backbone. The band continues to experiment with sound and anger, and it works brilliantly. Every release of theirs feels like a small masterpiece. The record carries straight-up rage, strong melodies, broken rhythms, and an ’80s anarcho-hardcore spirit rooted in the best traditions of Crucifix and Wretched, but projected directly onto today’s fucked-up reality.

The album tears into a world burning itself alive. Imperialist wars, systemic violence, and media-fed complacency all collide here. Songs like “Controlled Opposition,” “White Idols,” and “Utopia” hit especially hard. It feels like a rawer and angrier continuation of last year’s Straw Man Army release, which makes sense given the shared members. Every track confronts exclusion, fear, and the grind of modern life, from “Manufactured Squalor” to the collapsing visions of the title track, spitting rage while refusing easy redemption.

The artwork is a standout as well. Fire, fog, damage, and frustration, all created by vocalist Shiva. It’s always impressive when bands handle their own visuals, especially when they absolutely nail it. For another visual masterpiece, check out Gritos Norteño by Destruxion Amerika.

I’m still bummed that I missed them at K-Town a few years ago, when they played a day show at Mayhem. I was simply too lazy to make it there. Since then, that venue has become a must for me, as it consistently hosts so many great bands.

Cities of Fear comes out on La Vida Es Un Mus, who continue to put out some of the best releases year after year. I’m still completely in love with the work they’re doing.

See More: Kaleidoscope, Cities of Fear review

Aliment are a post-punk trio from Barcelona, featuring members and ex-members of bands like Enemic Interior, Univers, and others. The band has been active since roughly 2010. I first discovered them a few years ago at the inaugural Greetings From Barcelona Fest, and I fell in love with their sound immediately. There’s something magnetic about the way they blend melody and mood.

Sempre Res (translated as Always Nothing) is an EP, at least if Discogs is to be trusted, but it feels more like a full-length release. It opens with the incredibly melodic and heartwarming “Aquesta terra i el seu sol” (“This Land and Its Sun”), which still gives me goosebumps every time. The record flows like a story, with each track feeling slightly different yet clearly connected. Midway through, it drifts into the dreamy “Bellesa morta” (“Dead Beauty”), before closing with the endlessly danceable “Centra’t” (“Focus”), a perfect finale. I don’t have this record in my collection yet, and I couldn’t find the lyrics online, so I can’t dive too deeply into the words. Maybe it’s time to start learning Catalan. Musically, the record is melodic yet dark, bright yet intense, driven by straight, punchy drums that I always appreciate.

The artwork is a highlight as well, designed by Marc Miró, also known as @hallogallo. It adds an extra layer of mystery and intrigue. The color palette alone is mesmerizing and perfectly suits the music.

Sempre Res came out on 12-inch vinyl via Flexidiscos from Valencia, a label I truly love. It also received a cassette release on Nueva Época Records from Manresa, a new label for me, but now definitely on my radar. Aliment are a band worth following. This record is a perfect introduction to their melodic, intense, and dark-bright post-punk sound.

Steröid’s Chainmail Commandos is a record I’ve already reviewed earlier this year in 15 Egg Punk Releases You MUST Check Out, so I don’t have much more to add here. It’s still a truly unique and killer release, and I definitely wanted it included on my best-of list. For more context, check out that article and the full review of Chainmail Commandos.

Lame first of all come with a bit of confusion about how to properly pronounce the band’s name. It’s L A M E, like the Spanish [lām] (lick), not the English [leɪm] (lame). How do I know? I asked the band myself before their gig in Berlin a few years ago. Was there a deeper meaning behind the name? Honestly, I don’t remember. I might have asked, but I’ve got no clue anymore. I’ll ask again next time, haha.

Lame are a punk quartet from Mallorca, pulling influence from hardcore punk, anarcho punk, and maybe even post-punk. The members have played in some seriously great bands from the island, including Orden Mundial, Barrera, Trau, Enamorados, Morreadoras, Barcelona, and more. Those names alone should already say enough if you somehow haven’t heard Lame yet.

Are you bored of reading that I’m totally in love with some record? Eat it. I’m totally in love with this one. The record, the band, everything about it. Luckily, I’ve seen them live twice, a few years ago in Berlin and this summer in Copenhagen at K-Town Hardcore Fest, and I’m already looking forward to the next time. Raw, intense, and honest punk the way it should be, Lame hit hard and stay with you.

Lo Que Extrañas Ya No Existe (translated as What You Miss No Longer Exists) is the band’s second full-length, and it’s absolutely crushing. It was on repeat for a long time, and every time I come back to it, it ends up on repeat again. Chainsaw guitars, driving bass, totally unhinged drumming, and those wild vocals and performances that push each song right to the edge. I love watching their drummer live in every band he plays in.

Lyrically, the record deals with collapse without drama. Bombs, power, silence, and everything that gets buried along the way. Memory, responsibility, people. Angry but not theatrical. Political without slogans. It’s more about surviving the damage than explaining it. No heroes, no comfort, just punk insisting on staying aware and staying loud. Tomorrow? Somehow, there’s still life.

I also love the cover artwork. This Japanese record-cover style has become pretty popular lately, and I’m absolutely into it.

If you want an idea of what Lame are like live, dig around on YouTube. I found a video from 2024 of them playing in Bilbao, and it says it all.

This record came out on La Vida Es Un Mus, and there’s a reason so many releases from this label keep ending up on this list.

Svart Katt have been on my radar for quite a while now, and every new release feels like another great surprise. The band started around 2016 and play melodic punk, indie, and post-punk as a quartet, or sometimes a trio, out of Stockholm. This one is for fans of that uniquely Swedish punk sound. Think Masshysteri, Hurula, The Vicious, and all that melancholic Scandinavian tension, though Svart Katt lean even more toward melody, at least for me.

Tills ingen längre minns (translated as Until No One Remembers Anymore) is the band’s third full-length release, and it really feels like with each record they become more melodic and more melancholic, which I absolutely love. The sound is still very much their own, as mentioned before. I don’t know if it’s the music, the Swedish lyrics, or the combination of both, but for someone who doesn’t speak Swedish it always feels like listening to a strange, slightly sad fairytale that pulls you back again and again. The songs are melodic and melancholic, yet carried by driving drums that keep everything grounded and moving forward. On this release the band adds keyboards and distorted synths, contrasted with a clarinet, giving the record a special touch. At times it almost feels like a synth-soaked, melodic Ramones-by-way-of-Stockholm vibe.

I couldn’t find the lyrics anywhere, and unfortunately I still don’t have the record in my collection. According to the band’s Bandcamp, the overall theme of the album wasn’t planned from the start and eventually landed somewhere along these lines:

“Everything that lives is perishable. Everything can and will end at any time, maybe sooner than we think. The only thing we have is love and each other. Right now.”

That sentiment fits the mood of the record perfectly.

The album artwork by Robin Ejnebrand adds a lot to the atmosphere as well. It feels dreamy and slightly lost, like searching for something better without quite knowing what that is.

There’s also plenty of video material online, including two official music videos and a number of live clips. If you’re curious about the band’s visuals and live energy, it’s easy to dive in.

Tills ingen längre minns was released by Adrian Recordings out of Malmö, a label that has become home to many melodic, pop-leaning indie releases. I haven’t explored their catalog nearly enough yet, but this record definitely makes me think it’s time to finally do that.

Ameretat (translated as Immortality) is a new duo, S and K, children of the Iranian diaspora with family on both sides of the autocratic barrier. If I’ve got this right, the members have been involved with collectives like Khiis, JJ and the A’s, Zanjeer, and a few others. I might be slightly off here, so feel free to correct me if that’s the case. They’re based somewhere between Barcelona and Berlin. There’s no word yet on live shows, but I’d absolutely love to see them play, and I’m sure many others would too.

Their self-titled release is packed with incredibly strong ideas. It’s wild hardcore and crust punk infused with traditional and modern folk instruments from across the Iranian world. At times it leans into noisy, experimental hardcore. At other moments it becomes straight-up anarcho-punk in the best traditions of Rudimentary Peni. Somehow, it all comes together as one cohesive piece of art, with those traditional instruments seamlessly woven throughout. It’s seriously impressive.

Lyrically, it’s hard to pin down specific lines, but the themes hit hard regardless. War, loss, isolation, empathy, and resistance all run through the record.

The release also features striking artwork, which reminds me a bit of Khiis’ Bezoar, even though this time it’s created by Nirzar Pangarkar. Like the music itself, the visuals feel deeply rooted in tradition while still pushing boundaries.

There’s a music video on their Bandcamp for the opening track, “Ghazal-e-ātish / Posht-e-pardeh” (Ode to the Fire / Behind the Veil), which gives a strong glimpse into the release’s political and musical atmosphere. There’s no live footage yet, probably because they haven’t performed so far, but I really hope that changes. It would be incredible to witness this material live.

This release came out on La Vida Es Un Mus in London. Yes, I know I have a lot of releases from this label on my list, but honestly, they’re all worth it, and this one fits right in.

See more: Ameretat, Self-Titled review

Morwan has been around since about 2019. Originally a solo project from Kyiv by musician and artist Alex Ashtaui, it gradually transformed into a full band and is now based in Berlin. I have to say, this one has been on my radar since the release dropped. Somehow I wasn’t aware of Morwan before this year, and I’m still sleeping on the earlier releases, but I definitely need to find the time to dig into them.

Vse po kolu, znovu (translated as All in a Circle, Again) is Morwan’s fourth studio release, made in the best traditions of Eastern post-punk, but with plenty of fresh and experimental elements woven in. The record features eight tracks recorded between 2023 and 2024, with the exception of the title track, “Vse po kolu, znovu,” which was written back in 2020. It’s a dark, long-playing album, but also slightly dreamy at times, with hints of industrial textures threading through its hypnotic grooves.

The album is sung in Ukrainian and unfolds as a throbbing, heavy ride through cycles of exhaustion and inner chaos, dragging you through loops of memory, loss, and self-erasure. The lyrics hit hard with dark and haunting imagery, nights, black slopes, fleeting escapes, balancing despair with small flashes of release. Musically, the record feels tense and hypnotic, perfectly matching the claustrophobic and restless mood of the words. At times, the jagged, broken rhythms and intense energy bring to mind Rollins Band, especially their raw art-punk attitude, but filtered through a distinctly Ukrainian lens. You could almost describe it as a kind of Ukrainian Rollins-era intensity, mixing emotional grit with experimental post-punk sensibilities.

I couldn’t find any information about the artwork, but visually it makes a strong impression, carrying the same dark, raw, and wild atmosphere you feel while listening. There’s also a music video for the song “Без обличчя,” which I really love. It’s easily one of my favorite music videos of the year.

Vse po kolu, znovu came out on Feel It Records, just like the band’s previous release, and it feels like a perfect fit. Feel It Records are known for a strong discography packed with weird and brilliant releases, and this album is a solid continuation of what they do best.

Shakti, named after the concept of “power” or “energy” in Hindu philosophy and Indian culture, is also the name of a killer new post-punk band based in Barcelona. Featuring members of Belgrado, Sect, Patrol, and more, they deliver something that feels urgent, dark, and genuinely dangerous. I haven’t caught them live yet, even though they played Greetings From Barcelona Vol. 2 in 2024. Somehow I missed a lot of the opening bands that day, and Shakti were one of them. They’re hitting Berlin in January, though, so there’s finally a good chance to see them in person.

Shakti deliver a wave of dark, obscure, and fast post-punk that plunges headfirst into hardcore, all sung in Marathi. Yeah, you read that right. As one review put it, “There are echoes of Hindustani classical, ’80s Indian disco, and garage, but ultimately this is a punk record that molds itself and takes space between expansive post-punk and the rowdy, tongue-in-cheek hardcore of bands like Electric Deads or Tozibabe.” It’s obscure and brooding, but also danceable, like a Bollywood film filled with hidden traps and surprises. The more you spin it, the more it pulls you in.

The artwork is immediately eye-catching. A roaring tiger that channels strong Bollywood vibes. Unfortunately, there’s no credit listed on the cover, but the image is striking regardless. The record was mastered by the legendary Daniel Husayn, which adds that sharp, polished punch to the whole release.

They’ve also released a music video for “Kahase Ho,” which samples scenes from the classic Bollywood film Don, directed by Chandra Barot and produced by Nariman Films. It’s a stylish crime thriller about an underworld kingpin, double-crosses, and wild plot twists, and it fits Shakti’s chaotic, cinematic energy perfectly.

Released on La Vida Es Un Mus. No more words needed.

Industry are an international anarcho-punk band based in Berlin, already becoming something of an icon in the German anti-imperialist punk scene. None of the members are actually from Germany, which only makes the band more interesting. The members have played, or are still playing, in bands like Lux, Stinkhole, UZI / Desintegracion Violenta, and Mörpheme, adding a lot of depth and experience to what they’re doing now. They’re a quartet, one of those bands bringing anarcho-punk back into sharp focus. Though honestly, it was never really dead. The world’s wars and genocides keep it painfully relevant.

The band itself is a political statement, and if you catch them live, you’ll understand exactly why. I’ve seen them more than four times, and every show makes me like them even more. It’s no surprise they’ve toured all over Europe and earned recognition in the scene so quickly. I’m especially happy to welcome them to Hamburg next year. Don’t miss it. January 18th, with Industry, Ex-Dom, and Neon Lies. More info soon.

Industry is their second full-length release and feels like a direct continuation of their debut. Maybe even angrier. More in-your-face. Packed with statements. It’s still that catchy, ’80s-style mid-tempo anarcho-punk in the best traditions of Rudimentary Peni, Amebix, and Flux of Pink Indians, but with a unique and instantly recognizable voice of its own. The drums hit hard, the guitars push, the bass drives, and the vocals spit class war straight into your face from the very first second. It’s the perfect soundtrack for walking through the richer areas of your city, imagining statements on rotten houses stuffed with money. This is just imagination, not a call to action. Or is it?

I didn’t have enough time to dive deep into the lyrics, and unfortunately they aren’t available online, but the song titles alone already give a clear sense of what’s going on. Systemic violence. Media manipulation. Bodies exploited under capitalism. Europe’s, and especially Germany’s, colonial guilt. Nothing is spared. Industry tear through ten tracks of snarling anarcho-punk with urgency and rage, leaving the listener with no choice but to see the world clearly and fight back. Industry is bleak, uncompromising, and relentless. Punk as conscience and armor.

The artwork follows the best anarcho-punk traditions. Raw and provocative, even though I couldn’t find a credit for the artist. Another solid release on La Vida Es Un Mus. Okay, maybe I’ve featured them a lot lately, but you can dig into more of their catalog, and soon there will be a new episode of my radio show covering the best releases of the year. Worth the wait.

Mujeres Podridas are a hardcore punk quartet from Austin, Texas, with some garagey and melodic touches woven into their sound. They’ve been around since roughly 2017, if I’m not mistaken. Members of the band also play, or have played, in other solid projects like Criaturas, Kurrakä, Mirror, Wiccans, Heaven, and Crooked Bangs, which already tells you a lot about where they’re coming from.

This release really took me by surprise. I’d heard one song a few months back and didn’t expect much more, or maybe I just forgot about them, but wow. Hell yeah. You can’t imagine how stoked I was one Friday a few weeks ago when Sangre y Sol dropped. Fridays have become some of my favorite days, not only because they’re my days off, but also because so many new releases land then. Sometimes I sit and wait like a kid for something fresh to come through, and this was definitely one of those days.

I got the chance to see the band live once in 2024 at K-Town Hardcore Fest, and it was an amazing experience. I really hope they hit the road again soon. Since then, they’ve done a pretty killer Japanese tour, which I followed a bit online, and it looked intense and great.

Sangre y Sol (Spanish for Blood and Sun) is their second full-length release, following several EPs and singles. The sound here is a bit different from their 2021 record Muerte En Paraíso, but it still carries that wild energy. Fast, pounding drums. Really catchy guitars packed with riffs and solos that get stuck in your head. A bass that leaves plenty of space while locking in perfectly with everything else. And those vocals, clearer than before, but still raw and full of attitude.

The songs deal with love, violence, and death. They reflect the passion that comes from balancing the intense highs and lows of life, while staying proud of the land that nourished and raised the members of the band. In short, Sangre y Sol speaks to the violence and danger people face when crossing the border on foot, and to the long journey that follows through a society and landscape that are often harsh and unforgiving.

The artwork, including illustrations and layout, was done by Kumi (@kumi_ashg) and Phill, also known as mr_d_n_a_, who is also the band’s drummer. I’ve said it before, and I’ll say it again. I love it when bands handle their own artwork, especially when they do it this well. This one absolutely rules.

The record came out on Beach Impediment Records out of Richmond, Virginia. If you’re not aware of them yet, you should be. I haven’t listened to all of their recent releases, but this is a perfect reason to dig in.

Extra 5

With just a few words, really needed to mention these releases:

C.A.M.O. – Combative Anthems Motivate Outcry

A fierce snapshot of Vienna’s current punk underground. Loud, pissed, and necessary. Their No Fuss X-Mas set was pure destruction and already feels legendary.

Enemic Interior – Col·lecció

Complete 7″ discography plus unreleased tracks. Oi-leaning melodic punk that never leaves rotation. Basically a soundtrack for living fast.

Rata Negra – Hawai

An unexpected comeback LP. Urgent, catchy punk with sharp lyrics and sneaky pop hooks. Wreckage never sounded this alive.

Haram – ليش الجنة بيتبلش في الجهنم؟ (Why Does Paradise Begin in Hell)

One of the most vital hardcore records of the year. Relentless, political, deeply personal. Essential listening for 2025 and beyond.

Liiek – Living in a Fiction

Probably their strongest release yet. Angular, noisy, melodic, and unhinged. Post-punk flirting with egg-punk chaos, sharp as hell.