Review
Mutant Reavers
Monster Punk

Wolverine records (2020) Dennis

Mutant Reavers – Monster Punk cover artwork
Mutant Reavers – Monster Punk — Wolverine records, 2020

Back in the late nineties I started listening to horrropunk. To this day it is one of my favourite scenes. Back in the day I listened to basically everything I could find that would match the description horrorpunk. Nowadays I am more picky. Still, if I see a promo mentioning horrorpunk I am so tempted to review it. I’ve skipped a couple of releases, I just didn’t have the time. Mutant Reavers promo for Monster Punk found me at exactly the right time. So, is it any good?

If you clicked this review, you probably have seen the score I assigned it and you are already aware I am not impressed. Let me tell you why. Mutant Reavers is a German band. There seems to be a lively scene there, which has brought me two of my favourite bands in the scene, The Crimson Ghosts and The Other. They have released a couple of EP’s and now try their hand on their debut full length. On this album you’ll hear a band that comes close to Dead End Guys or The Epidemic at times, they unfortunately never reach the lofty heights of the top players of the genre.

Horrorpunk is a rather limited genre. The rules (if we can call them that) are relatively strict. That is not necessarily a bad thing. It gives bands a clear view of what to do and a challenge to toy around with those rules. Although the promo tells me Mutant Reavers play horrorpunk infused with metal influences I would encourage them to play a bit more out of the box. Monster Punk displays a band that plays nicely within the set boundaries. They do try to deviate from the norm slightly in a couple of songs. There are some psychobilly influences on “Body Of An Android” and “She-Monsters From Outer Space”, where the band reminds me of Demented Are Go that try to play horrorpunk instead of psychobilly. “Medusa Twist” does something really different by adding synths and a very danceable rhythm. It is a weird track to close the album. In fact, it is so different from the other thirteen tracks it makes me wonder what it is doing on the album.

The production of the album could use a bit improvement. It all sounds a bit thin in my ears. I do enjoy some thick, warm metal guitars in my horrorpunk. On top of that the singer is at times struggling with his lines. Especially on the slower songs he bites of more than he can chew. It seems he is trying to compensate this by adding some more vibrato. It is something I would recommend not to try again.

Being a fan of the genre I really want to like this. My favourite releases in the genre are made to be sung along. Mutant Reavers do not give me that vibe. I have listened to this album over a dozen times the past two weeks and still there are no tracks I want to join in.

This is a nice first attempt at a full length album by Mutant Reavers. I hope they will come back with something better in the future. Something that I can like as much as I hope I will after reading the promo.

6.0 / 10Dennis • July 7, 2020

Mutant Reavers – Monster Punk cover artwork
Mutant Reavers – Monster Punk — Wolverine records, 2020

Recently-posted album reviews

Alien Nosejob

How A Mosquito Operates
Anti Fade, Iron Lung (2026)

The one-man band of Alien Nosejob continues to crank out short, angry hardcore in quick bursts. I've lost count of how many records Jake Robertson has now released under the name. I'll just say that while the first couple took some direction changes, the project seems to have found its footing in 1980s-influenced hardcore. With 17 songs in 24 minutes, … Read more

Cancer Bats

Give Me Dirt
Marshall Amplification PLC, New Damage records (2026)

ALBUM HIGHLIGHTS – “Bright Eyes of Gold”, “Give Me Dirt”, “Long Tooth”, “Fools Like You” Almost exactly two years ago, on 8th August 2024, Cancer Bats played Conne Island in Leipzig – a choice they would live to regret. Unbeknownst to them at the time, the centre had slowly become renowned for its radical politics and, more recently, the ban … Read more

Tyler Sonnichsen

The Dead Milkmen
J-Card Press (2026)

When I saw The Dead Milkmen at Toronto’s Diamond Club back in the late 1980s, the floor was a volatile, beautiful mess of colliding subcultures. It was like different species of house flies bumping into one another, wondering what the hell you were doing in the mason jar. You had suburban high school pocket-pen-protector pencil-neck nubile nerds, college radio snobs … Read more