Category: punk rock

New Video: Pissed Jeans Shares Anthemic Ripper “Moving On”

Over the course of their 20-year history together, Allentown, PA-based punks Pissed Jeans — Matt Korvette (vocals), Brad Fry (guitar), Randy Huth (bass) and Sean McGuinness (drums) — has never been known to go halfway: They’ve long been known for material that pairs feral vocals and acerbic, biting lyrics with buzzsaw guitars — and for their unhinged live show.

The Allentown-based punks’ highly-anticipated sixth album Half Divorced further cements their longtime reputation for crating feral punk with their acerbic sense of humor. Thematically, the material mercilessly skewers the tension between youthful optimism and the sobering realities of adulthood but while still managing to be — perhaps inadvertently — fun. “Half Divorced has an aggression within it, in terms of saying, I don’t want this reality. There’s a power in being able to say, I realize you want me to pay attention to these things, but I’m telling you that they don’t matter. I’m already looking elsewhere,” Korvette says.

Slated for a March 1, 2024 release through Sub Pop Records, the band’s members weren’t in a rush to finish the album, which was recorded and co-produced by Don Godwin at Takoma Park, MD-based Tonal Park. “We’re not the kind of band that bangs out a new record every two years,” Pissed Jeans’ Matt Korvette says. “Pissed Jeans is truly like an art project for us, which is what makes it so fun.” The material’s distilled energy makes the album sound menacing and dangerous — with the song’s unexpectedly veering into classic hardcore punk territory. Korvette says, “We realized we’d never really fucked with pop punk, and we thought, this is something that isn’t going to be immediately recognizable as cool. So let’s challenge ourselves to make it feel cool to us.”

“Half Divorced has an aggression within it, in terms of saying, I don’t want
The word divorce in the album’s title falls in line with the moments of humiliation, shame and defeat that are held up for all to see on the album. “If you say something enough or if you just allow it to exist publicly, then it loses its evil monster-in-the-closet thing,” Korvette says.
 
Half Divorced‘s latest single “Moving On” is a hard-charging, balls-to-the-wall, mosh pit friendly ripper with shout along friendly, mosh pit friendly hooks and choruses, buzzsaw-like power chords, propulsive and thunderous drumming paired with Korvette’s snarled delivery. At its core, “Moving On” seems to be as much about trying to put the best foot forward as it is about throwing your hands up and accepting defeat .

Directed by frequent collaborator Joe Stakun, the accompanying video for “Moving On” features intimately shot footage of the band performing the song in an industrial space with some post-modernist art just behind them while other odd things go on: a woman writes down some of the song’s lyrics of a gigantic note pad, another woman comes in to drop off some groceries, trips and falls with some of the groceries falling out. At another point, Korvette walks over in mid-song to get a cut of coffee, which he clumsily spills — before continuing onward. It’s a mix of the mundane and the surreal.
 

New Audio: New Hampshire’s Street Trash Shares a Mosh Pit Friendly Ripper

Street Trash is an an emerging New Hampshire punk outfit, and their latest single “Trailer Parks” is a crusty, power chord-driven, mosh pit friendly ripper that simultaneously reminds me of Coney Island High and The Continental on St. Mark’s Place back in the 90s and the RidingEasy Records roster. Play loud, headbang — and open up that pit!

New Video: SPRINTS Shares Feral and Frenzied “Heavy”

If you had been frequenting this site as we closed out 2023, you might have come across a handful of pieces on rapidly rising Dublin-based punks SPRINTS. The Dublin-based quartet — Karla Chubb (vocals, guitar), Colm O’Reilly (guitar), Jack Callan (drums) and Sam McCann (bass) — formed back in 2019, and since then they have quickly developed and crafted an abrasive punk rock sound, influenced by early Pixies, Bauhaus, Siousxie Sioux, King Gizzard, Savages, and LCD Soundsystem. 

Their first two EP’s, 2021’s Manifesto and last year’s A Modern Job were released to rapturous praise from UK music outlets like DIY, The Guardian, NME, Loud & Quiet, Dork, and Clash. They also received airplay from BBC Radio 1 and BBC 6 Music.

The Irish punks highly-anticipated full-length debut Letter To Self is slated for a Friday release through City Slang Records. According to the band’s Karla Chubb, the album “is a deeply personal and autobiographical lyrically and in its key themes, while sonically it explores a space inspired by our love of early 80s gothic, 90s noises rock and more modern influences. It revisits our most vulnerable moments and imbues them with visceral garage-punk. It aims to take the things that are considered inherently negative – feelings of anxiety, anger and rage, and turning them into a positive. Using our experiences to fuel us and pouring them into a positive outlet. It’s cathartic, it’s honest, it’s raw.” While pain is used to fuel growth, at its core, the album is rooted in a message of self-acceptance. 

The band’s frontperson Karla Chubb has never been afraid to confront inner turmoil. Born in Dublin, she spent a portion of her early childhood in Germany, initially turning to music as a consequence of feeling out-of-step with the world. “I lived in a constant state of existential crisis,” she recalls. “Music became an outlet for emotion, and a way for me to understand myself and society.”

Recorded in France’s Loire Valley with Gilla Band‘s Daniel Fox over the course of 12 days, Letter to Self will feature previously released singles “Adore Adore Adore,” “Literary Mind,” its lead single “Up and Comer,” and what may arguably be the album’s most vulnerable and raw track “Shadow of a Doubt.”

Letter To Self‘s latest single “Heavy” is a brutally furious, mosh pit friendly ripper built around scorching riffs and thunderous drumming paired with anthemic, shout along worthy hooks and Chubb’s urgent, feral delivery. ”The brutally cacophonous sound communicates how it feels to be paralyzed and inspired by anxiety, pairing intrusive thoughts, panic and intensity with that anxiety inducing build,” SPRITS’ Chubb explains. “Heavily inspired my early Bauhaus records and PJ Harvey’s Is This Desire?, it draws a heavy influence from 80s gothic – the purposeful space reflecting the isolating nature of panic.”

Featuring live footage shot by Glen Bollard and Fern Rose, and edited by Annie Walsh and Colin Peppard, the accompanying video for “Heavy” captures the energy of a SPRINTS set — both before the show and in the green room, and then the actual, sweaty, frenzy of the show.

New Audio: Minneapolis Punks Spit Takes Share a Furious Ripper

Minneapolis-based punk outfit Spit Takes — Vanessa McKinney (vocals), Monet Wong (guitar), Angie Lynch (bass) and Charles Gehr (drums) — formed last year. Influenced by Amyl and the Sniffers, X-Ray Spex, Bikini Kill, and The Slits among a list of other acts, the Minneapolis-based punks pair crunchy guitar riffs with raw, unapologetic lyrics.

Over the course of this year, I’ve written about two of their released singles”

  • “God Bless (Holy Tits)!,” a pub rock-like take on punk rock that reminded me of Amyl and the Sniffers and is built around prerequisite enormous power chord-driven riffs, thunderous drumming and mosh pit friendly hooks and chorus. And at its core, is a hilarious and defiantly crude, feminist anthem delivered with a zero fucks given aplomb.
  • “Hogwash,” a crusty post-punk tinged, breakneck ripper punctuated with angular guitar bursts and McKinney’s punchy shouts. The song captures the band calling out the bullshit around them with an incensed fury. While continuing a run of catchy, mosh pit friendly rippers, “Hogwash,” as the band explains is “a rallying cry to tear through the veils of falsehood, seek out justice in the chaos, and clasp the raw, unembellished essence of existence.”

The Minneapolis-based punks close out 2023 with “Teeth,” another straight forward mosh pit friendly ripper with a unapologetically edgy lyrics that celebrate autonomy, self-respect and individuality — with the song sparking dialogue on issues of identity, personal space and empowerment among others while encouraging the listener to believe in the power of their own voice.