V/A – Current Affairs CD (Subunderground C.A.)

When you think about the DNA of the underground, it’s rarely about a single band or a single city. It’s about the connective tissue, the fanzines, the tape trades, and most importantly, the compilations that bridge the gap between different scenes. Freshly landed on the desk is Current Affairs, a massive 17-track collection released just last month, and if you have any interest in anything that comes from the UK or Dutch punk scenes, this is essentially your new textbook. What we have here is a curated blast of energy from ten bands that refuse to let the DIY spirit become a museum piece. It’s raw, it’s diverse, and it’s mastered by Patrick Delabie at Studio 195, which is basically a seal of quality for anyone who likes their punk with a certain punchy, analog grit. It’s a cross-section of where the underground stands right now, and man, the heart rate is high. The record kicks off with Old Age Spies, and “Wake Up Song” is exactly what it says on the tin. They occupy that sweet spot between classic punk rock and garage-infused sound. It is a timeless sound, and it could have come out in 1977 or 2026, and it would still make you want to spill your beer and start a pit. But just as you’re settling into that garage groove, Mouser hits you with “¡No Pasarán!”. This is the real deal, high-octane, eighties-inspired hardcore punk that doesn’t mess around. Mouser represents that elite tier of Dutch punk that understands the power of a driving bassline and a vocal delivery that sounds like someone yelling through a chain-link fence. It’s fast, it’s focused, and it’s one of the strongest arguments for why the eighties sound still feels so dangerous in the right hands.

Then the compilation takes a slight turn toward the British Isles with Geezapunx. Their tracks, “Catch 22” and “Holler,” are absolute standouts because they merge traditional punk rock with that specific, stompy urgency of early eighties British Oi!. It’s that blend of melody and street-level aggression that makes you want to sing along while looking over your shoulder. Following that up is Scoundrels, featuring Kev Ellis on “Asteroids.” This is straightforward, no-nonsense punk rock at its finest. It doesn’t need gimmicks; it just needs a solid riff and a sense of purpose, both of which are present in spades. It provides a perfect bridge into one of the most violent segments of the CD: Abrazos. If you’ve got a short attention span, Abrazos is your new favorite band. “We Pretend To Work Because They Pretend To Pay Us” clocks in at under a minute of pure, unadulterated old-school hardcore punk. It’s a sonic middle finger that hits with the force of a sledgehammer and leaves before you can even process the damage. As the CD “rips and burns” its way through the tracklist, we encounter Krust Worthy. Their sound is a fascinating mixture of Oi! sensibilities and the darker, more aggressive edge of UK82. It’s that driving, “boot-on-pavement” rhythm that keeps the compilation from ever sagging. But just when you think you’ve got the record figured out, Brioche enters the room to stir the pot. “Are Aliens Real?” and “Strange” are probably the most “open-minded” tracks here, combining synth basslines with alternative and punk rock textures. It’s a refreshing palette cleanser that proves this compilation isn’t just about speed, but also about creativity. It reminds me of the way bands like Die Kreuzen used to throw a curveball just when you thought you knew what was coming next.

For those who like it a bit more modern and heavy, Stresssysteem delivers an impressive blend of crusty, grindy hardcore punk. With tracks like “Ondergang” and “De Wereld Op Z’n Kop,” they utilize a dual-vocal attack that shines in the limelight, creating a chaotic, suffocating atmosphere that feels incredibly aggressive. It’s dark, heavy, and it provides a perfect contrast to the melodic fuzz that follows. And speaking of fuzz, we have to talk about Ford’s Fuzz Inferno. Hans F. Ford is a legend in the Dutch scene for a reason, and “Why Are We Here And Who Are You?” is a prime example of his signature move, fuzzy, melodic punk rock that wraps around your listening apparatus and refuses to let go long after this song ends. It’s catchy as hell but retains that grime that only a true DIY veteran can conjure. Then you have Waste, who carry that torch of energetic sound blending noise and melodics. “Ups and Downs” is a powerful, catchy punk rock anthem that stays in your head long after the laser stops spinning. It’s a track that balances power and hooks so effortlessly that you wonder why it isn’t being played in every dive bar across Europe. By the time the compilation circles back to Old Age Spies and “Zombie Zombie,” you realize you’ve just been given a 17-track tour of the most vital corners of the current scene.

What ties all these bands together isn’t just a geographical proximity or a shared mastering engineer, but that profound DIY mentality mentioned in the credits. There is a passion here that you just don’t get from over-produced, label-sanctioned releases. This is music made by people who have to make it, people who are scouring archives, scouring record bins, and keeping the flame alive because they don’t know any other way to live. Current Affairs is a mandatory listen for anyone who calls themselves a punk enthusiast. It twists, it turns, and it offers something for every flavor of the underground, from the street-punk veteran to the noise-rock nerd. It’s a diverse, entertaining, and inspiring collection that proves the underground isn’t just surviving in 2026, but it feels more alive than ever. If you want to know what’s happening in the basements and squats from England to the Netherlands, this is your map. Grab a copy, turn it up, and let the neighbors know that punk rock is still very much their problem.