Perennial may be the only punk trio with an organist instead of a bassist. You could call what they do — “Motown-via-Dischord,” their promotional material accurately christens it, with a third ingredient of ‘60s mod chic — a gimmick, except it’s too undeniable: Perennial fucking rock. You’ll know this from the moment their new album, Modernism, kicks in. A very quick feedback squall; a very quick intro riff (no time is ever wasted on a Perennial song); then the whole band, with a cocky, amped-up, swaggering riff. It’s instant electricity, pure adrenaline.
The ingredients for each song are straightforward and no-nonsense: an elastic, mod-rock riff smothered in pugilistic distortion; snare drum hits that may as well be gunshots; organ…
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Australia’s next great rock icons have arrived, yet they’ve been here the whole time. The rowdy punk four-piece known as 
One of the central queercore pioneers of the 1990s, Portland, Oregon’s Team Dresch released just two albums, 1995’s fiery Personal Best and 1996’s more crisply produced but no less visceral Captain My Captain, before dispersing into solo and side projects. The group never fully deactivated, however, releasing the odd single and appearing in various iterations at festivals and anniversary celebrations over the years, including participating in the reissue of their entire catalog (including a non-album singles compilation) by Jealous Butcher Records in 2019. Something that set the band apart somewhat from their contemporaries on the scene, and perhaps helped foster continued interest, is an embrace of rock, grunge, and metal influences in addition to the more typical…
…includes the recently-shared “World’s Always Burning” featuring Mannequin Pussy along with previously unreleased songs “I’ve Said Too Much” featuring Dazy, “3 AM,” and “Thought You Were Waving [Anthony’s Version],” which is a cover by Anthony Green (Circa Survive, L.S. Dunes, Saosin).
After releasing the album We Disappear in 2016, post-pop-punk band 
On the Boston stop of the 1995 tour promoting their second album Blonder and Blonder, the Muffs stopped off at Fort Apache studio to play a set that was broadcast on WFNX, the area’s alternative station. The band sounds energized and full of punk vim and vigor, even though the daytime session was like putting in an extra shift at work. Guitarist Kim Shattuck, in particular, is on fire, attacking her instrument like it was a six-stringed monster that needed immediate subduing. She crashes and slashes through a set of songs mostly derived from the album they were touring, and her singing is even more fiery. On record she mostly kept her howls and screams in check but on-stage she lets loose, favoring pure emotional release over melody. The band follows her…
Emerging from Baltimore’s incredibly energetic hardcore scene, TURNSTILE have always displayed a penchant for eclecticism. Last year’s album NEVER ENOUGH epitomised their magpie-like eye for glittering sonics, exploding their hardcore palette into something that could be blissfully melodic and crushingly intense all within the same song. Very much an international breakout moment, the band toast 12 months of NEVER ENOUGH with VERSIONS, a staggering broad selection of re-workings which serves to illustrate the ongoing impact of the parent record.
When the Blood Brothers returned in 2024, Johnny Whitney was so energized by the run of shows that he never wanted it to end. He expected his bandmates to feel the same. They played to their largest crowds, including headlining the Best Friends Forever Festival. When it became clear that the Blood Brothers were not going to become an ongoing concern again, Whitney and fellow Blood Brother Cody Votolato began work on the songs that would become 
Much like scene counterparts Turnover and Basement, Citizen budded in the haze of early 2010s emo and grew to ripen in the radiance of alternative rock. The raucousness of formative releases like Youth matured on 2017’s As You Please, blooming on 2021’s Life In Your Glass World onwards, where huge hooks and electronic experimentation entered proceedings. Calling The Dogs stuck to that formula in solid, if perhaps unspectacular, fashion, and 
Milwaukee skramz trio 
The 
…The expanded tracklist appends rare live versions of tracks like “Fat Lip,” “All She’s Got,” “Crazy Amanda Bunkface,” “Machine Gun,” and “What We’re All About”.
Since 
Everything I Ever Saw continues 
