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Review: Hailing from London's East End, there's few Oi-punk outfits who were as quintessential or authentic as The 4-Skins. While only releasing a small handful of albums with their definitive 80s line up, this live/demo/unreleased cuts compilation offers an aural fly-on-the-wall experience of being confronted with their signature brand of seething anti-authoritarian, anti-police brutality, anti-fascist, football loving, skinhead sporting, Doc Marten stomping punk in real time. Packed with cuts pulled from radio sessions, Bumper sessions, demos and even two tracks from a previously unreleased 7" 45, including the ska-punk-inflected 'Seems To Me'; offering a more subdued side to the OG Skins than most long-time fans would be accustomed to.

Review: The latest reissued compilation of 4 Skins' greatest works contains the hits and misses of the band at the height of the oi! era, which evolved in tandem with their breakout success and helped them along more than a fair little. From the opening jump of 'One Law For Them' and 'Evil', twin charges of unrelenting chant-punk and brawly sonic brashness, to the latter-siders 'A.C.A.B.' and 'I Don't Wanna Die', as well as a second Bumper Session of 'Evil', this retrospective harks back to a distinct early 80s subculture - as well as a band who, in their concern for police brutality and social injustice, defy common misconceptions of skinheads as all bad.

Review: The Minneapolis Uranium Club Band's Infants Under The Bulb album is an engaging journey through unbridled punk creativity and raw guitar energy. Released amidst their hometown's vibrant underground scene, the album defies categorisation in the way it blends elements of punk, post-punk and experimental rock. With relentless rhythms, angular guitar riffs and cryptic lyrics, each track unfolds in heavy and arresting fashion and the band's unconventional approach and uncompromising attitude challenge listeners to embrace the unconventional throughout this most visceral of albums.

Review: Originally released in 2017, In Riot We Trust is the second of two studio albums so far released by feminist protest group Pussy Riot, whose provocative punk regularly takes potshots at Russian leader Vladimir Putin and his regime. Since 2011, the Moscow band founded by then-22-year-old Nadya Tolokonnikova has had the membership of 11 women, who are arguably most well known for their guerrilla gigs and stunts, often in sites of national, cultural, or religious significance. Despite the real focus of the group being on speaking out against issues such as Russia's ingrained sexism, homophobia, and racism, totalitarian rule and oppression of rights, and the limelight falling on their IRL actions, this is more than enough evidence that their rage and talent can be distilled onto record to some degree. Potent to say the least.