Self-reservation cascaded away when igor stridently proclaimed, “The rumors are true – I just went insane”, in the opening lyric of his latest strident and evocatively raw single, My Own Way.
If people still held their lighters in the air, there are few better calls for an inferno of flame than this reclamation of the 00s alt-rock sound. After a short and sweet prelude, which could easily have given way to a Springsteen anthem, pop-punk signatures sink their teeth into the anthemic production that takes you on a cataclysmic ride through a confessional vignette of how much we give away to meet the expectations of someone that was inching away from us the entire time.
With guitar hooks as viscerally sharp as My Chemical Romance’s under igor’s engrossingly distinctive vocal lines, which refuse to forego authenticity for assimilation, My Own Way is a testament to the Ukraine-born, Russia-raised, NY-residing singer-songwriter and his determination to wear his heart on his sleeve.
While earworms that delve deep into scarred psyches to expose the commonalities of agony are a rarity, igor achieved all of that and more in the symbiosis of rhythmic ferocity and tender vulnerability in My Own Way.
My Own Way was officially released on December 1st; stream it on Spotify.
The Dead Beast Initiative’s surf punk hit, Small Thing, is a rancorously electrifying track that cements the Athens-based duo as indomitable purveyors of antagonistic rock. Orfeas Georgakopoulos on guitar and Sotiris Georgakopoulos with vocals and drums have concocted a sonic cocktail that is as magnetic as it is confrontational, echoing the protestive bite of Rage Against the Machine and the rolling rhythms of Eagles of Death Metal.
Small Thing is a masterclass in controlled chaos. The track opens with gritty, riff-centred guitars that immediately grab your attention. The energy is relentless, driving forward with a ferocity that is both thrilling and intimidating. Sotiris’ vocals are a force to be reckoned with – loud, scathing, and dripping with disdain. His delivery is a perfect match for the in-your-face percussion, creating a sound that is as raw as it is refined. The song’s message is clear and potent: don’t be a passive bitch. This ethos is woven into every aspect of the track, from the lyrics to the unyielding instrumentation.
The Dead Beast Initiative’s influences – ranging from Nine Inch Nails to Audioslave – are evident, yet the band has managed to create a sound that is uniquely their own. Their music is a refreshing take on rock n’ roll, blending elements of hard rock with a sincerity that is often missing in the genre. It will leave listeners kneeling at the altar of rock n roll.
Small Things hit the airwaves on December 12th; stream it on SoundCloud.
The Light Goes Out is the fourth single to creep out of the darkness of the third album, REINVENTION, from the alt post-punk outfit, Movment. If you have been waiting for humanity’s final curtain to fall in a state of perpetual fear, slip into the enticing ethos of the release which compels you not to sit idly by waiting to surrender to our collective fate.
The engorging atmospherics, pulsating darkwave synths, sirening guitar lines and the commanding assertion in the gravelly post-punk-to-the-bone vocal lines make a compelling argument on why you should live your life undogged by end of days anxiety. Movment reached the pinnacle of cheerful nihilism with The Light Goes Out, which ties into the overarching theme of the LP, which came to life at End of Light Studios in Ireland, as a courtesy of Alex Borwick (mixing), and Jerome Schmitt (mastering).
The Light Goes Out was officially released on November 24; stream the official music video on YouTube.
The REINVENTION LP is now available to stream and purchase via Bandcamp.
Taken from the brand-new EP, chemical thoughts, which mainlined a potent shot of punk rock adrenaline into the airwaves, the latest standout single, deku, from Torch the Hive reaffirms the sonic powerhouse’s position at the forefront of the genre.
The track is a masterful blend of intensity and technique, featuring an indie rock prelude and a bass line that wouldn’t be out of place in a Queens of the Stone Age record—heavy, relentless, and undeniably catchy. This foundation sets the stage for the song’s explosive dynamics, with tension-filled, augmented verses that build into anthemic heights, ensuring that when the crescendos hit in the choruses, it’s nothing short of cathartic.
Torch the Hive, consisting of the formidable trio Mike Fruel, Tyler Sanders, and Kevin Amaro, has proven with this new EP that they’re not content to rest within the confines of traditional pop punk. Instead, they’ve taken a page from the playbook of punk luminaries such as Rocket From the Crypt and Social Distortion and echoed the introspective angst of Bad Religion and the defiant energy of Pennywise. Yet, Torch the Hive bend these influences to their will, creating something fresh and fiercely their own.
Since their formation in 2017 in Chicago, Illinois, Torch the Hive has consistently broken the mould, surpassing what fans and critics expect from aural antagonists. Whether selling out shows across the Midwest region or embarking on national tours, the band’s reputation for delivering an uncompromising punk rock experience is well-earned. deku is a continuation of this ethos, a musical juggernaut that cements Torch the Hive’s status as a band that not only understands the heritage of punk but is also determined to define its future.
Watch the official music video for deku on YouTube.
With society becoming increasingly polarised and partisan with their ideals, the ambiguity and subjectivity of the punk ethos continue to be as amplified and weaponised as it was when the sonic strain of rebellion saw its inception when Bad Brains and Fugazi had to take back their scene from white supremacists.
Asking the definition of punk will always elicit a wide range of answers, typically subjective and based on personal beliefs. Much like asking someone their take on the meaning of life, asking for a definition of punk leads to diverse perspectives and opinions. The differentiations in opinion can naturally lead to points of contention.
The Ambiguity and Subjectivity of the Punk Ethos
While some may see leftist bands, including politically vocal bands such as Crass and Leftover Crack as punk, others enforce the insinuation that punk should be neither left nor right-wing – it should be entirely anti-establishment. Yet, punk artists have always fallen on either side of the spectrum. There has never been a shortage of conservative punks; Johnny Ramone and Bobby Steele (Misfits) being amongst the most prominent, with the likes of Skrewdriver falling on the more extreme end of the right-wing spectrum.
The existence of Christian punk bands, such as MxPx is also a baffling paradox. Aurally, they are as ‘punk’ as Green Day and Blink-182, but does their piousness preclude a punk attitude? Well, if you consider the punk ethos as one that goes against conformity and authoritarianism and consider that religiosity is one of the greatest examples of authoritarianism, given the submission to authority and conventionality, then you would have to argue that it does.
However, if you regard the ambiguity and subjectivity of the punk ethos, not as a flaw, but as a fundamental characteristic that allows punk to remain an evolving cultural driving force, you can see why anything can and does fly under the banner of punk. The differentiation in meaning, for artists and fans alike, is a phenomenon rooted in the origins of punk. Punk embraces individuality and resists strict definitions. It has done so since its mid-1970s inception which saw the movement erupt as a visceral reaction against corporate mass culture.
The Origin of Punk
Ramones, the Sex Pistols, and The Clash, with their raw sound and defiant attitude, became the embodiment of the punk movement in the mid-70s as a means to drown out the bloated-with-capitalism timbres of Rock n Roll. It was always more than a genre. It was (and still is) permission for self-expression, a celebration of DIY ethics, and an antagonistic force against authority and social normativity.
The DIY aspect of punk further contributes to its subjective nature. Punk has always encouraged grassroots involvement, from creating zines and organising gigs to forming bands and recording music independently. This DIY spirit means that punk is not just consumed but actively created by its participants, leading to a diverse range of expressions and interpretations. What punk means to a fanzine creator in London can be vastly different from what it means to a garage band in New York or a political activist in Berlin.
Moreover, the punk ethos is marked by a resistance to being pigeonholed or defined by external forces. This resistance is a reaction against the commercialisation and co-optation of music and culture. Punk’s disdain for the mainstream has led to a fluid and evolving identity, one that resists easy categorisation. This fluidity means that punk can be a moving target, always adapting and changing in response to the cultural and political climate. This is efficaciously encapsulated by The Virginmarys with their track, You’re a Killer, which fervently protests the age of division and disinformation with the scathed lines that will always strike a chord:
“Information, in formation An idiot’s guide to dividing the nation Grooming the youth to the point of sedation Where hearing the truth gives a strange sensation What you see’s not what it seems The UK’s sleeping sweet American dreams Democracy is a word shot from the mouth Of a killer”
The subjectivity of punk is also reflected in its regional variations. Punk in the UK, with bands like the Sex Pistols and The Clash, often had a more overt political edge, reflecting the social and economic turmoil of 1970s Britain. In contrast, American punk, epitomised by bands like the Ramones and Black Flag, often had a more nihilistic and individualistic bent iconography attached to them, which is now increasingly perpetuated in contemporary UK punk scenes.
The Weaponisation of Punk
Just as people fought back against The National Front attempting to co-opt the punk movement when they skewed the meaning of the lyrical contexts within tracks from The Clash and Sex Pistols, and Henry Rollins and Ian Mackaye refused to be passive in their resistance when the frenetic nature of American hardcore attracted Neo-Nazis like moths to a flame, it’s crucial that no form of contemporary xenophobia gets to fly under the guise of punk.
One of the key reasons for the ambiguity and subjectivity of the punk ethos is its foundational principle of individualism. Punk encourages people to think for themselves, to question the status quo, and to express their unique perspectives and identities. This ethos naturally leads to a wide range of interpretations and expressions. For some, punk is primarily about the music and the energy of live performances. For others, it’s a political statement, a way to challenge societal injustices and speak for the marginalised. And for many, it’s a fashion statement, a way to visually express their rebellion against mainstream norms.
So, given that punk is a means of individualistic empowerment which gives people the freedom to challenge social constructs and embrace their autonomy, it is nothing short of fucked up that the Trans Exclusionary Radical Feminist (TERF) movement is attempting to infiltrate punk in reaction to people refusing to play along with gender roles anymore, especially if those assigned at birth gender roles are completely at odds with innate identity.
It may require one brain cell too many for people to wrap their heads around the fact that gender is shaped by societal norms and expectations rather than being solely determined by biological or physical differences, but the consequence of that cannot and should not be the demonisation of trans, non-binary, and queer people. Of course, TERFs and their army of gender-critical sheep can’t come right out and say why they feel threatened by trans and non-binary people. They have to convince themselves that there is an existential threat to women and children to feign some form of valour.
On the other hand, it’s entirely possible that they don’t even have the cognitive capacity to realise that their aversion to people who don’t marry themselves to the conformity of gender roles boils down to a fear that their own safety blanket of conformity will be torn away. Perhaps they’ve all got a bad case of gender role Stockholm syndrome.
Where is the clause in the punk ethos to declare that you can’t embrace your identity if that means you are rejecting arbitrary gender roles and living your life whilst proving that gender is not a fixed or innate attribute but rather a fluid identity shaped by social and cultural context?! I certainly don’t see one.
Don’t believe the “TERF is the new punk” hype. No matter how many garish t-shirts are pressed by the biggest victim-mentality grifter who cries to the Daily Mail and GB News that she’s been cancelled by the music industry for airing her dimly dogmatic views. Just like the evil protagonist in her fellow TERF’s book and film franchise, she isn’t to be named, because every bit of publicity is fuel for her self-piteous fire.
In Conclusion
The ambiguity and subjectivity of the punk ethos are central to its enduring appeal and relevance. Punk is not a monolith but a mosaic, made up of diverse voices and perspectives. This diversity allows punk to continually reinvent itself and remain relevant to new generations of artists and fans. Whether as a musical genre, a political statement, or a lifestyle, punk remains a powerful symbol of rebellion, individuality, and self-expression. However, that doesn’t mean that harmful tropes pushed via the righteousness of punk should go unchallenged. Punk isn’t a free pass to prejudice.
To sear the post-punk genre with their own brand of authenticity, FloatLikeCandy, scuzzed and fuzzed their latest single, The Girl & the Peacemaker up to the nth degree. As the basslines growl, the garage-y guitars swagger and shimmer through the progressions as the drawling with deadpan conviction spoken-word vocals work to ensnare fans of Nick Cave and Swans.
Far from your ordinary allegory, The Girl & the Peacemaker depicts a dark and murky tale of the grim sadness of war, the death of innocence and the gaslighting tendencies of politicians and warmongers as they win public favour as blood spills. With the ongoing conflict in Gaza, The Girl & The Peacemaker is a tragically timely release that signifies the importance of keeping experimental truth-sayers on your radar.
Stream The Girl & the Peacemaker on SoundCloud and follow FloatLikeCandy on Facebook to be the first to know when the rest of the EP drops.
After we joined the Worcestershire, UK three-piece pop-punk powerhouse, Project Revise, in ‘Free Fall’ with their previous release, we’re stoked to announce that they’re back on the airwaves with their nettled with emo nostalgia latest single, Take the World.
Fans of Taking Back Sunday, Funeral for a Friend and New Found Glory will easily find a place on their playlists for the caustic cuts of the guitars, chugging basslines that leave you psyched for the gravity-defying choruses and adrenalizing infectious vocal lines which soar through the lyrics that run through the pitfalls of staying loyal to toxicity within a scene.
Project Revise’s tracks have previously been heard on BBC Introducing and seminal Spotify playlists, including New Punk Tracks, Pop Punk’s Not Dead, Skatepark Punks and Punk Unplugged. Given that Take the World is some of their viscerally viral-worthy work to date, we expect this rancorous hit to take them to the same heights as Hawthorne Heights.
Take the World will be released on October 20; stream it on SoundCloud.
Jump Jump Joan cruised in on a riptide of surf punk with their stylistically exhilarant standout single, This Night, taken from their debut EP, This is Us, which hit the airwaves on September 1st.
By the time the palpitatingly sweet chorus hits, you’ll be wishing that all pop-punk hits were as vintagely hued as This Night; as momentum drives through the overdriven guitar lines, the lead vocals drape seductively magnetic harmonies over the rancour to create a natural anchor amidst the chaos.
There aren’t many outfits that can hold vocal candles to the likes of Debbie Harry and Dolores O’Riordan, but if any powerhouse can hold their own against the icons, it is the Somerset-hailing ensemble who are already making major waves across streaming platforms and winning favour from the likes of Blitzcat Records and Honk Magazine. We’re stoked to see Jump Jump Joan hold dominion over the UK punk scene in 2024.
The cowboy-hating Texan Max Diaz brought his seminal single, COWBOY CULT, to life via swathes of sardonic vitriol, potent enough to make every punky take on garage rock by Fidlar sound like a love letter to the universe.
While the instrumentals weave their way through bluesy entanglements, Diaz uses every lyrical line to roll with the punches in his heavyweight canter; even if you’ve never pulled on a pair of cowboy boots in your life, you will feel every drop of vindicating venom projected by the artist’s devil may care disdain towards his fellow Texans.
You’d think all of the controversy of his Machiavellian attacks on the people surrounding him who are hellbent on seeing the regression of social progress would leave him unpopular, but the streaming stats don’t lie. After racking up millions of streams on several of his tracks, he’s the pissed-off prince that wasn’t promised but rose through the ashes of redneck numbskullery regardless. We fucking adore him.
COWBOY CULT was released with the rest of the artist’s sophomore LP, METANOIA on October 13th; do yourselves a favour and stream the entire Tour De Force in full via Spotify.
Martin’s Revenge made the Oh Sees sound like a 90s pop boyband with their latest darkly domineering single, Jack Let Go of the Door, which leads psych rock down a murky and nefarious corridor and surfs up to a gnarled nightmarescape that any fans of aural aggravation will want to repetitively revisit.
After The Eighties Matchbox B-Line disaster left a void in the industry with their departure, Martin’s Revenge has finally filled it with the rolling harbingering drum fills, electrified to the nth-degree guitars, stabbing basslines and drawling vox in their latest release, which revisits a Fear and Loathing-esque drug trip with striking visceralism.
Following the success of their EP, Harry’s Redroom, the Nottingham-based thee-piece is set to let the leash off of their latest EP, VR Porn, on November 6th. After reinforcing and honing their sound significantly between the two releases, Martin’s Revenge has established itself as more than the sum of its parts and the influence of Fugazi, Pixies, Idles and The Jesus Lizard.
Jack Let Go of the Door was officially released on October 23, Stream it on SoundCloud.
