Spotty Herbert first caught my attention as a proper old-school printed zine. Its third issue was released together with a vinyl compilation made up exclusively of Oi! bands from the USA, which is already a good reason to pay attention. The compilation features 15 songs in total, with the visual side handled by Malwina from Old School Design, once again proving that her style is instantly recognizable within the scene. The release was split between Longshot for the USA and Try And Stop Me for Europe.
I appreciate this release for several reasons. First of all, I have huge respect for anyone who still keeps paper zines alive. From my own experience, I know how time-consuming and financially demanding it is, and in today’s fast-paced world it’s something only a handful of true fanatics are still willing to do. Most projects like this flash briefly across the scene and then disappear without a trace, so even more respect to those who didn’t give up. I personally moved to an online format mainly because I no longer wanted to spend endless hours on distribution and pour my own money into everything.
Secondly, compilations still make a lot of sense—if they’re done right. And I clearly remember how I used to devour compilations like Knockout in the Round…, Punk-O-Rama, and countless others. That’s how I discovered new bands, styles, and labels, and how my taste as a listener was shaped. Thirdly, this compilation is stylistically clean and uncompromisingly contemporary Oi!. No shitty nostalgia, no crying about the „good old days,“ but new bands, a current sound, and a living, breathing scene. Exactly how it should be.
Side A is opened by my favorites Shaved For Battle, who show their strong sense for guitar work and drive in the catchy track Wolves. The rougher side of Oi! is represented by songs Spit Your Take, a hardcore-influenced song by the relatively new band Piston, and the more punk-oriented song Stand Your Ground by Oxblood. Badterms from Boston contribute Tarred & Feathered in their typical playful style, fitting perfectly into their discography. The streetpunk banger All The Bastards comes from Traxx, a band I honestly know nothing about—but the song absolutely rips, and I’m definitely curious to hear more from them in the future. GAVL confirm their strong form with the new hit Street Kids, which smoothly follows up their 2024 debut EP. Side A is closed by San Francisco streetpunks Reducers S.F. with a raw, energetic version of Don’t Like You, sounding exactly as it should.
Side B turns up the pressure. A heavier take on Oi! with gritty vocals is delivered by Knife’s Edge and their track Line ‚Em Up, which really carries some weight. A pleasant surprise is Sweet Talker, a more rock’n’roll-influenced project and their song One Way Ticket, featuring Graham from Big Dog. This song really worked for me, and honestly I didn’t expect his new project to sound like this. Next up are fellow Buffalo locals Violent Way with the surprisingly melodic It’s No Longer You. A much more straightforward Oi! punch comes with Back To Work by California’s Rally Cry. Bootboys glam/punk/Oi! is represented by Wired Up and their track We Own The Night—a solid stomper that’s perfect for tapping your foot and drinking beer in a club, even featuring a piano line. As raw as a kick to the ribs is the demo version of Butcher’s Knife by Usual Suspects. Finally, the anthem Fresh Cut Stomp by hardcore/Oi!/punk war machine Poor Impulse Control finally makes it onto vinyl. The record is wrapped up by The Take from New York with a cover of Crucified by Iron Cross, which fits perfectly as a closer.
The included zine offers a solid amount of interviews, both with bands and individuals. Band interviews feature Usual Suspects, GAVL, Rancoeur, Rally Cry, Knife’s Edge, and Oxblood, while individual interviews include Nicole Anne (Reko Case) and Gavin Watson. Some of the interviews could be more extensive, but from my own experience I know that a lot depends on the respondent. Still, there’s plenty of interesting information and insights to be found. The artwork of both the zine and the record is top-notch, and Malwina has been doing great things for the scene for a long time—go support her and pick up something from her work.
