Los Angeles band “Niis” are set to release their upcoming E.P. Play Niis on October 23rd via “Rise Records,” and today the band have shared another new single off the upcoming E.P. titled “No Flowers.” This follows their previous single “Earthquakes.” About the track and their upcoming EP, lead singer Mimi Doe says, “A lot of the songs on this record are about fitting into societal monotony. We forget to put ourselves first by doing things that bring us joy and make us feel something, or anything. And that’s something I really wanted to capture with the lyrics.” You can watch the music video for “No Flowers,” as well as pre-order Play Niis below:
Los Angeles-based duo “Index” are set to drop their debut full-length album Vis Inertiae this Friday, and today the band have released another new track off the album titled “Dissolve.” Much like their previous singles, “Dissolve” is a crafty mix of Noise Rock, Punk, Industrial, and Electronic Rock, and it’s looking like this is going to be a fantastic debut. You can listen to “Dissolve,” as well as pre-order Vis Inertiae below:
UK Punk duo “Lambrini Girls” received much acclaim with their debut album Who Let The Dogs Out last year, an album that featured direct and confrontational social commentary, and that’s just the kind of music we needed then, and need even more now in these dire times. Thankfully, the band are keeping up their momentum with a new album on the horizon. Their second full-length album No Refunds will be released on January 15th, and today the band have shared a new track off the album titled “Bang Bang Bang.” About the album, the band says, “”No Refunds” confronts a litany of modern horrors, from genocide and fascism to the rise of Al, reproductive rights, and the descent into the grubby basement of the manosphere.” You can watch the music video for “Bang Bang Bang,” as well as pre-order No Refunds below:
Detroit band “Protomartyr” are set to release their seventh album Hotel Usona on September 25th via longtime label “Domino,” and today the band have shared another new track off the album titled “Feed the Sewer,” and it’s a relentless takedown of AI. About the single, lead singer Joe Casey comments “The title comes from a line of dialogue in a Peter Greenaway movie. The sentiment of the song is that artificial intelligence is against humanity. The belief is that people are often willing to destroy the world in exchange for convenience. The lyrics are the usual mish-mash of political fears, personal grievances, literary references, and poop jokes. The music is very loud, like a data center.” The single also has an accompanying music video that features comedian Nate Varrone, who also appeared in the music video for the band’s previous single “Sounds We Cannot Hear.” About the video, director Andrew Theodore Balasia says, “Loneliness in the age of surveillance is the theme we explored for this video. The motel becomes a physical microcosm of data collection, each room a profile, each guest willingly paying to stay in a room that is being monitored by strangers. The banality of what’s being observed becomes its own source of unease, stripping away spectacle until all that remains is the dull, unsettling desire to connect with anything.” You can watch the music video for “Feed the Sewer,” as well as pre-order Hotel Usona below:
London, UK-based trio “Pozi” aren’t your average band. Their reinvention of Post-Punk entails classical-influenced violin, a propulsive rhythm section, and harmonious vocals filled with witty and often times political lyrics. Which makes them one of the most interesting bands out there. Today the band have shared a new single titled “Hale-Bopp” which will appear on their upcoming album Bark Bark, which is set to drop November 13th. About the track the band claims that it “reflects on examples of unity since Covid, moving towards a better world with more love and compassion, before seeming to spiral off-course with the terrifying rise of the far right. The final refrain gives a sense of hope; that catastrophe is delayed – but for how long?” You can listen to “Hale-Bopp” below:
Though many of us are still not over the quiet breakup of Punk trio “Control Top,” ex-members Alan Creedon and Alex Lichtenauer have moved on with their new project “Index,” and this project is quite the departure from their previous work with “Control Top.” Incorporating Electronic and Industrial elements, the band’s music packs a more visceral punch, without sacrificing their beautifully noisy style of Hardcore Punk. The band announced in July that their debut album Vis Inertiae will be released on September 25th via “Get Better Records,” and following their last two singles “Cellophane” and “Fractured,” the band have released another ripper of a track titled “Earth.” You can listen to the track, as well as pre-order Vis Inertiae below:
“I locked myself in my home studio on the 4th of July and made this song in three hours. Pure Catharsis.” Says Los Angeles-based musician/producer Sun Spoiler about his new single “Reek.” “Sun Spoiler” is the moniker of Andreas Emmanuel, and he has been making music under this name as far back as 2023, crafting an eclectic mix of Pop, Indie Rock, Alternative, Electronic, and 80s-tinged Synth-Pop, but “Reek” is by far his best work and the most locked in he’s sounded. With a runtime of 1:41, the track is infectiously energetic with a raw Punk edge, and if we’re in for more music in this vein, then Sun Spoiler is most certainly an artist to pay attention to.
It’s been 9 years since the last “Downtown Boys” album Cost of Living was released, and 11 years since the band released their groundbreaking debut Full Communism, an album that made waves in the Punk scene and rallied against capitalism, sexism, homophobia, and exploitative labor conditions. That’s right, they’re as Punk as Punk gets, and 11 years later these things are still being fought by those who are tired of oppression, so a new “Downtown Boys” album is completely necessary. Their new album is titled Public Luxury, and according to the band, the title means “everything for everyone,” reminding us that we as the people have the power, and in a time where things seem hopeless for many of us, it’s important for artists to provide a sense of beauty and hope to prevent us from falling down the rabbit hole of nihilism. Musically this album is business as usual, which isn’t a bad thing by any means. Lead singer Victoria Marie’s raucous bilingual vocals that jump from Spanish to English are as sharp as ever and bring to mind Punk legends like Poly Styrene or Kathleen Hanna, the music still features frantic guitars and saxophone lines, but this is the most polished the band have sounded, without sacrificing the band’s signature rawness. However, there are some tracks on this album that depart from their usual sound a bit, and these tracks are where the band sound truly rejuvenated. “Yellow Sun” is a New Wave-tinged vibraphone-filled track that has a bit of a Post-Punk Revival sound, “You’re a Ghost” is a hard-hitting Industrial track that speaks out against ICE, and the album’s closing title track features a dreamy mix of synths and piano, creating ethereal atmospherics that reflect the optimistic theme of the lyrics. Though the band have solidified their status as Punk’s most relevant and exciting acts, I hope they continue to experiment like this in the future, because I feel like this is a natural progression for the band. A lot of us identify with the band and their anger toward all the things that keep us oppressed, but it’s hard to stay optimistic in these dire times, but the band’s message of hope is refreshing and we need more protest music like this that has a perfect balance of pointing out corruption and hopeful optimism.
IDLES will release their follow-up to their critically acclaimed album Ultra Mono on November 12th via “Partisan Records.” The album is titled Crawler, and is coproduced by Kenny Beats. The band have also shared a new single titled “The Beachland Ballroom,” which is a massive departure from their previous work. About the track, lead singer Joe Talbot states “It’s the most important song on the album, really, There’s so many bands that go through the small rooms and dream of making it into the big rooms. Being able to write a soul tune like this made me go, fuck , we’re at a place where we’re actually allowed to go to these big rooms and be creative and not just go through the motions and really appreciate what we’ve got. The song is sort of an allegory of feeling lost and getting through it. It’s one that I really love singing.” You can watch the music video for “The Beachland Ballroom” below:
As of late, I’ve been trying to stay away from the easy and often uninspired mention of the pandemic when it comes to my write-ups of new music, but the fact of the matter is, it’s nearly impossible, and maybe a little irresponsible to not mention the impact COVID and lockdown has had on the music scene. Whether it be the frequent cancellations of tours, or the music that has been created as a reaction to the stir craziness of isolation, we’ve hit a point where the whole music world has collectively been forced to endure the same thing, so of course the mention of COVID is inevitable. An album that epitomizes the feeling of wanting to punch the walls or to be able to do something as simple as driving to your favorite spot to order fucking fish and chips is “Amyl and the Sniffers'” new album Comfort to Me. The Australian quartet are no strangers to riotous Punk Rock highly energized and ferociously enticing, but what happens when you take that same energy and lock it in a house with no access to the things in the outside world that create normalcy in everyday life? That energy gets amplified of course. The band wrote the majority of this album during lockdown, and the proof is in tracks like “Hertz” and “Guided by Angels,” tracks that convey the feelings that are brought on by isolation, and even those moments of existentialism like on the track “Capital.” “Existing for the sake of existing, meaning disappears,” shouts lead singer Amy Taylor on what is possibly the heaviest track on the album. Those guitar riffs, they bring to mind Kill ‘Em All era “Metallica” every time I hear them, which perfectly echoes the nihilistic nature of the track. Lockdown played a role in this album no doubt, but merely labeling this a “lockdown album” would do a disservice to the band, because the subject matter will resonate with anyone at any point in time. Divisiveness isn’t anything new. We faced it even before the pandemic. Marginalized people have always been victims of prejudice and hate, having to fear walking home alone late at night or just simply being themselves out in public. It’s an unfair reality that fortunately has been brought to light in recent years, but still continues to be smothered by social norms that stifle any progress or innovation, so it’s important to have anthems such as “Freaks to the Front,” “Choices,” “Don’t Fence Me In,” and “Knifey” to inspire and to speak on the anxieties many face on a daily basis. Though the album doesn’t break new ground sonically, it still sounds fresh in a genre that continues to inspire many, and the lyrical content consists of the most important subject matter that people shouldn’t just skim over.
