HSR044: This six track 7” EP is the debut release for Perth punk death rockers Streets of Separation. SOS are unique in that they display the kind of exuberance for performing DIY punk music that often fades with years of involvement while drawing on influences decades in the past. The artwork attests to this – a strong mix of post and pre Y2K. What I’m trying to get at is that in 2025 it’s hard to be a fresh band, but SOS are. And yet the lineage is obvious – from Gen and Tiff’s solid yet off-kilter backline drumming and bass reminiscent of early 90s Riot Grrrl (or even the earlier BABES IN TOYLAND demo or elements of the MATRIMONY LP) and New Orleans sludge to Max’s raw and sometimes psychedelic guitar hooks harking back to 70s punk and proto punk. They shift between crude short stompers and longer meandering dirges – tracks exuding rawness, frustration, struggle, violence – while never letting off the gas.

Our take: The long-running label Helta Skelta Records brings us the debut six-song EP from this three-piece band from their hometown of Perth, Australia. I’ve grown to trust Helta Skelta over the years; they don’t release many records, but when they release something, it’s worth paying attention to . I’m glad I paid attention to Streets of Separation, even though they sound nothing like the music I usually listen to nowadays. The label’s description mentions “a strong mix of post and pre Y2K,” and that’s a great way of putting it. There’s something very 90s about Streets of Separation; this mostly comes down to their riffs, which can be (but aren’t always) grungy and sludgy. Sometimes the band wallows in the muck—see the Incesticide vibes of the closing track, “Sludge Fuck”—but more often these sludgy riffs are implanted into songs that are kinda poppy, or at least have strong vocal melodies. And speaking of vocals, all three members sing, and their rather disparate approaches to singing are a big part of what makes Faux Fur so dynamic and interesting. Back to the “post and pre Y2K” thing, though; while Streets of Separation has the aforementioned characteristics that remind me of the 90s, they don’t sound like a 90s throwback at all. Their particular brand of lo-fi feels very of-this-moment, and while they don’t sound like any of the contemporary Australian garage-punk bands you’re probably familiar with (most of which aren’t from anywhere near Perth anyway), there’s something similar in how Streets of Separation approaches songwriting, particularly how they aren’t afraid of hooks. I also love how this doesn’t sit comfortably in one stylistic lane. Some moments have a grimy, garage-y quality that reminds me of Deaf Wish (or maybe a less jangly Gun Club?), while others sound like noise rock filtered through modern lo-fi punk. Whatever lane Streets of Separation find themselves in, though, the music and the songs are always interesting, making this EP well worth a listen.