# see/saw > see/saw catalogs the best new punk and rock'n'roll. A publication and newsletter from Evan Minsker with features, reviews, and podcasts. Public Ghost content for AI and LLM tooling. This file includes a bounded export of public pages first, then recent public posts. Append `.md` to any post or page URL to get the content in Markdown (for example, `/example-post.md`). ## Pages ### About URL: https://see-saw.fun/about/ Last updated: 2024-12-31T22:10:39.000Z see/saw is a punk and rock'n'roll publication operated by Evan Minsker, freelance journalist (*New York Times*, NPR Music, *Rolling Stone*, *CREEM*, *Alt Press*) and former News Director at Pitchfork. This is a reader-supported publication. Some pieces will be free for all subscribers, some will live behind a paywall. The paywall is $4/month or $40/year. If you want access but aren’t able to pay, please inquire about see/saw’s [very real bartering program](https://see-saw.fun/bartering/). **What’s free:** Interviews, podcasts, playlists, mixes, essays, lists, etc. New stuff every week. **What’s behind the paywall:** Punk This Week, a weekly column highlighting the best new punk music floating around right now. Also, get access to the full radio archive, bonus podcasts, and the comment section. [Please subscribe](https://see-saw.fun/about/#/portal/) and tell your like-minded friends. Send music and get in touch: eminsker@gmail.com Find me on [Instagram](https://www.instagram.com/seesawdotfun?igsh=MXYzbHoxZjJyZ2NoMA%3D%3D&utm%5Fsource=qr), [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun), and [FKA Twitter](https://twitter.com/evanminsker?ref=see-saw.fun), and [join the Discord](https://discord.gg/fetGpeXD?ref=see-saw.fun)! ## Sign up for see/saw a punk and rock’n’roll newsletter by evan minsker Subscribe Email sent! 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Unsubscribe anytime. ### Blogroll URL: https://see-saw.fun/blogroll/ Last updated: 2026-09-07T16:46:55.000Z [12XU](https://onetwoxu.de/language/en/?ref=see-saw.fun) \[Groschi\] [Abundant Living](https://zacharylipez.ghost.io/?ref=see-saw.fun) \[Zachary Lipez\] [Another Thought](https://anotherthoughtanotherthought.substack.com/) \[Dusty Henry\] [Aquarium Drunkard](https://aquariumdrunkard.com/?ref=see-saw.fun) [Armering](https://armeringoslo.no/?ref=see-saw.fun) [Barely Human](https://www.barelyhuman.info/?ref=see-saw.fun) [Beauty Blew a Fuse](https://markrichardson.substack.com/) \[Mark Richardson\] [Big Egg](https://bigegg.substack.com/) \[Colette Arrand and Joseph Anthony Montecillo\] [Compilation Nation](https://compilationnation.substack.com/) \[Sydney Salk\] [Dan Ozzi](https://danozzi.substack.com/) [Deep Voices](https://deepvoices.substack.com/) \[Matthew Schnipper\] [Don’t Rock the Inbox](https://www.dontrocktheinbox.com/?ref=see-saw.fun) [EC Punx](https://ecpunx.substack.com/) [Electric Nebraska](https://samsodomsky.substack.com/) \[Sam Sodomsky\] [Flaming Hydra](https://flaminghydra.com/?ref=see-saw.fun) [Former Clarity](https://www.formerclarity.com/?ref=see-saw.fun) \[David Anthony\] [Futurism Restated](https://futurismrestated.substack.com/) \[Philip Sherburne\] [Gimmie Gimmie Gimmie Zine](https://gimmiezine.com/?ref=see-saw.fun) [Good Experimental Music](https://www.goodexperimentalmusic.com/?ref=see-saw.fun) \[Marc Masters\] [Hearing Things](https://www.hearingthings.co/?ref=see-saw.fun) [Heathen Disco](https://www.heathendis.co/?ref=see-saw.fun) \[Doug Mosurock\] [Hot Sounds](https://hotsounds.substack.com/) [The Interlude](https://theinterlude.substack.com/) \[Michelle Hyun Kim\] [Last Donut of the Night](https://last-donut-of-the-night.ghost.io/?ref=see-saw.fun) \[Larry Fitzmaurice\] T[he Line of Best Fit](https://www.thelineofbestfit.com/?ref=see-saw.fun) [Matthew Strauss](https://matthewstrauss.substack.com/) [Maximum Rocknroll](https://www.maximumrocknroll.com/?ref=see-saw.fun) [MDR Observer](https://mdrobserver.substack.com/) \[Zach Mitchell\] [Post-Trash](https://post-trash.com/?ref=see-saw.fun) [POW Mag](https://www.powmag.net/?ref=see-saw.fun) [Quinn Moreland](https://quinnmoreland.substack.com/) [Rate of Decay](https://rateofdecay.bigcartel.com/?ref=see-saw.fun) [Razorcake](https://razorcake.org/?ref=see-saw.fun) [Rosy Overdrive](https://rosyoverdrive.com/?ref=see-saw.fun) [Salvo](https://salvo.ghost.io/?ref=see-saw.fun) \[Kim Kelly\] [Scary Cool Sad Goodbye](https://scarycoolsadgoodbye.substack.com/) \[Meagan Garvey\] [Sorry State’s Weekly Newsletter](https://www.sorrystaterecords.com/pages/sorry-state-s-weekly-newsletter?ref=see-saw.fun) [Stereogum](https://stereogum.com/?ref=see-saw.fun) [Tone Glow](https://toneglow.substack.com/) [Total Punk Forum](https://forums.totalpunkrecords.com/?ref=see-saw.fun) [Trick Bag](https://trickbag.substack.com/) \[Martin Douglas\] [Yellow Green Red](https://www.yellowgreenred.com/?ref=see-saw.fun) ## Sign up for see/saw a punk and rock’n’roll newsletter by evan minsker Subscribe Email sent! Check your inbox to complete your signup. No spam. Unsubscribe anytime. ### Bartering URL: https://see-saw.fun/bartering/ Last updated: 2024-05-17T11:44:03.000Z Do you want access to all of see/saw beyond the paywall but aren’t able to meet the $4/month or $40/year? Let's barter! (Seriously, people have done this!) Email me: eminsker@gmail.com with the subject line "see/saw barter" and your name. Some examples that could work: 1. Pay what you want: Hit me up and ask if you can get in for a year with a [donation to the tip jar](https://buy.stripe.com/9AQbM991W1h2gxy288?ref=see-saw.fun). 2. Street team stuff: Could you put up some flyers? Ask some of your friends to sign up? Make some see/saw fan art of some kind? This is a new thing, so word-of-mouth would be unbelievably helpful. 3. An exchange of goods: Do you have your own newsletter or zine? Got some cool or weird stuff lying around you want to get rid of that you think could amount to a year of see/saw? Hit me up and we’ll talk about a trade of sorts. What won’t work: 1. Payola: Everything on see/saw is curated and not influenced by records being sent through the mail. Do not try to barter by sending your own releases, I’m not interested in doing things that way. 2. Writing for the site: Ideally, this project grows to a point where I can pay people fairly to write for see/saw. It’s too early for that right now. I won’t give you paywall access in exchange for a piece. 3. Creepy or illegal shit: Duh. 4. It’s early: I’m sure I’ll think of more stuff that isn’t OK. ## Sign up for see/saw a punk and rock’n’roll newsletter by evan minsker Subscribe Email sent! Check your inbox to complete your signup. No spam. Unsubscribe anytime. ### Merch URL: https://see-saw.fun/merch/ Last updated: 2024-06-03T02:03:11.000Z 4” logo stickers 1.25” logo buttons --- $2 each 2 for $3 \+ $1 for each additional add $1 shipping for just sticker orders in North America add $3 shipping for orders with buttons in North America international orders: email for shipping price **before paying** --- send $ to my [paypal](https://paypal.me/eminsker?country.x=US&locale.x=en%5FUS&ref=see-saw.fun) be sure to include what exactly you want in description + provide address --- questions?: eminsker@gmail.com ### Giveaway URL: https://see-saw.fun/giveaway/ Last updated: 2024-07-18T18:04:43.000Z Between July 18 and August 1, all subscribers to see/saw (free subscription to enter, no purchase required) are entered into a giveaway for a pile of vinyl records. Legal language below. --- No purchase is necessary to enter. Your chances of winning do not increase with a purchase. Void where prohibited by law. Active email subscribers to see/saw (see-saw.fun) via Ghost are eligible to participate in this giveaway; see/saw contributors (past, present, and future), contest suppliers, and the proprietor’s immediate family members are not eligible to participate in the giveaway. Vinyl records for the giveaway were donated for this giveaway to see/saw by Feel It Records, Total Punk Records, In the Red Records, Under the Gun Records, Static Shock Records, Ever/Never, Toxic State, 208, and D. Sablu; record donations were requested and curated for the giveaway by see/saw. By subscribing to see/saw (see-saw.fun), participants agree to abide by the Official Rules and decisions. see/saw withholds the right to refuse, withdraw, or disqualify entries at the organizer’s sole discretion. Participants agree to accept see/saw’s decision as final and binding. The giveaway promotion period begins at 11 a.m. Central on July 18 and ends at 11 a.m. Central on August 1\. Email subscribers from prior to the entry date are automatically entered into the giveaway. Entrants found to have created multiple logins or found to have acted in a fraudulent manner may be disqualified or refused at the organizer’s sole discretion. Subscribing to see/saw (see-saw.fun) via Ghost is the method of entry to the giveaway. The total estimated value of the prize is $267\. see/saw will incur the cost of shipping domestically in the United States or internationally. The odds of winning is dependent upon the number of eligible entries received. The winner will be selected via random number generator and notified with 24 hours of the giveaway’s end. 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By subscribing to see/saw, the entrant has reviewed, accepted, and agreed to these official rules. ### see/saw radio URL: https://see-saw.fun/see-saw-radio/ Last updated: 2026-09-03T14:13:07.000Z *see/saw radio is a one-hour punk and rock'n'roll radio show hosted by Evan Minsker. It broadcasts weekly on* [*Converge Radio Eau Claire*](https://www.instagram.com/convergemediaec/?ref=see-saw.fun)*,* [*KOOP Austin*](https://koop.org/?ref=see-saw.fun)*,* [*Cavern FM Portland*](https://www.cavern.fm/?ref=see-saw.fun)*,* [*KDUR Durango*](https://www.kdur.org/?ref=see-saw.fun)*,* [*KNVC Carson City*](https://knvc.org/?ref=see-saw.fun)*,* [*KRSC Tulsa*](https://rsuradio.com/?ref=see-saw.fun)*, and* [*KKSM San Marcos*](https://www.palomar.edu/kksm/?ref=see-saw.fun)*. The latest episodes are streaming via* [*Mixcloud*](https://see-saw.fun/punk-this-week-slut-intent-national-photo-committee-6-more/) *for all listeners; the full archive can be accessed on this page below by* [*see/saw’s paid subscribers!*](https://see-saw.fun/see-saw-radio/#/portal/) --- [**see/saw radio 89**](https://www.mixcloud.com/evanminsker/seesaw-radio-89/?ref=see-saw.fun) **\[August 27, 2026\]** Que Lindo: År null Lothario: Bad Actor Guiding Light: Fear on My Own Time Shannon and the Clams: Year of the Spider The Pezheads: Bad Bad Genes Heavens to Betsy: Ain’t Never Goin’ Back OBI Strip: Polaroid Postcard Xanny Stars: Honey Wild Thyme: Evan Snake Wine: 10gal Tanker Joe Glass: Buck Wild CRV: Bedside Manner Weird 1000: Grass Dona Casque: 800m & Marguerite Psychic Flowers: Go Man Go Fruited Planes: Charm Kitten Rebellion 6o6o: Valenbisi Suburban Pagans: Loretta Gimic: New Traditions Pink Reason: The Devil Always Wins The Drin: Prophets of Doom --- [**see/saw radio 88**](https://see-saw.fun/puzzleheads-new-shoegaze-jams-beyond-big-sniffs-shadow/) **\[August 20, 2026\]** I Will Die in This Jean Jacket: Too Bright DIAPERS: BREAK UP PANG: ARREST ME! (MR. POLICEMAN) Cronies: overtime Magic Factory: Rent or Drugs The Shooters: High on Strife Harry W.: Theme Song Diyl Tones: See See Tee Vee OBI Strip: New A.I. O.S. Society: No Society Wesley & the Boys: Internet Punk (Live) M.O.T.O.: Dance Dance Dance Dance Dance to the Radio HEADCHEESE: Dump Run HEADCHEESE: Spit Basin Ruckus: Hot in the City 1-800-MIKEY: Pleasant Morning Timmy’s Organism: I’m a Nice Guy Now Johnny Ill Band: I Live in a Garage Rikk Agnew: O.C. Life The Avengers: Teenage Rebel Patsy: Tommy, Bobby, Johnny The Cramps: Tear It Up Minor Threat: Screaming at a Wall 700 Club: My Heart Lothario: IOU --- [**see/saw radio 87**](https://www.mixcloud.com/evanminsker/seesaw-radio-87/?ref=see-saw.fun) **\[August 13, 2026\]** Neo Boys: Nothing to Fear The Hobknobs: Are You Looking for Something? Tyvek: Summer Things Ty Segall: The Man Man Generation Loss: Furniture Touch Girl Apple Blossom: I’m Lucky I Found You Rebel Kind: Kiss You Cuticles: Blink of an Eye Range Rats: The Two of Us Kleenex / Liliput: Terrified Poison Ruïn: Lily of the Valley Artificial Go: The World Is My Runway Shadow Show: Is This a Dream? No Peeling: Can I Pet That Dog? EXO: Butterfly Alvilda: Le Froid Frankie Cosmos: Fool Dum Dum Girls: Rest of Our Lives White Fence: Your Eyes Sam Hinton: The Eagle’s Lullaby --- [**see/saw radio 86**](https://see-saw.fun/puzzleheads-new-shoegaze-jams-beyond-big-sniffs-shadow/) **\[July 23, 2026\]** Cuticles: Real Men Get Teary P.P. Rebel: Sanctuary Boo/Hiss: Moonlight The Billy Mummys: Beach Ball Celebrators: 1123 Smirk: Dog Years The Caries Company: Punto 4 Spread Joy: Pygmalion 1-800-MIKEY: Me and My Only Rupture\_punk: Guillotière Dream World: Submission Dog Date: Punk Song No Peeling: Crimes Against Buffet snarewaves: ABV Topper: Telephone Brain Debt Rag: Fish of the Week Tonya: Frost Graphic Violets: Artificial Love Why Bother?: The Final Ride BADZY: New Kinda Hate Cujo: Blackout Drunk (In a Black Bandana) --- [**see/saw radio 85**](https://see-saw.fun/puzzleheads-new-shoegaze-jams-beyond-big-sniffs-shadow/) **\[July 16, 2026\]** Today’s Milk: The Towel Twisted Teens: Swamp Billy Gardner & Friends: Saturday Vital Stress: Fortunate Few Dirty Knees: Summer of Fun The DOJD: CivilWarLand in Bad Decline So Cow: I Wanna Marry Barry Celebrators: 0304 Invertebrates: Accosted Bad Sports: Follow Through Burgers Gone Wild: Destroyer OUST: Idiots CLAMM: Rats Dog Bite Law Firm: Bird Bath Credit Card: Harsh Times Diaphane: Starved Dogs Cel Ray: Teen (Cult) Song Just Guys Being Dudes: Self-Help Book Index: Fractured La Increíble Patrulla X: Feos Teini-Pää: Aaveet Jeffrey Novak One Man Band: Better Get Ready (The Pack cover) --- [**see/saw radio 84**](https://www.mixcloud.com/evanminsker/seesaw-radio-84/?ref=see-saw.fun) **\[July 9, 2026\]** Life Stinks: Shadow on the Wall Smirk: Going Off to Die Chrome Cell Torture: The Good That Hurt Does Mystic Inane: Eggs Onna Plate SEXFACES: Comfort Man Haverá Futuro?: Nunca Mais MSPAINT: Hardwired Twisted Teens: Florida Water Blues DOMO: Temporary Secretary Marbled Eye: Fade Away Odor Eater: Decibels Prisonnier du Temps: Le Genou à Terre Shrines: Shrines Sex Mex: Ride or Die gash: good and bad Peace Sign Hands: Blowing Down The Cowboys: Ever Since the Accident Age of Peace: Dead Alligator Demolition Doll Rods: Queen Bee Drag Racin’ Spiral Dub: Hang From the Line --- [**see/saw radio 83**](https://www.mixcloud.com/evanminsker/seesaw-radio-83/?ref=see-saw.fun) **\[July 2, 2026\]** Lenguas Largas: Tres de Carnitas CS Cleaners: G+T The Yummy Fur: Unity in Europe Choncy: Bypass Tonya: Waste King Universal Ritual Cross: General Dynamics Alien Nosejob: Nowhere to Go Guiding Light: Shackled by Lust TY: Get Knocked Down Taxi Girls: Try Harder Team Work: horse eating an apple Brendan Wells: In Dreams Aswan Dam: Salary Man Liquid Cross: Hateful Debt Rag: It’s Clear What’s Going On Twerp: Uptight Larry & Thee Jerrys: Mulva (I Can’t Remember Your Name) Baby Jane: vacances a txernòbil dope smokin homos: diy heart surgery Xanny Stars: Green Sugar Times New Viking: We Got Rocket Oddfellows: They Wanna Die --- [**see/saw radio 82**](https://www.mixcloud.com/evanminsker/seesaw-radio-82/?ref=see-saw.fun) **\[June 25, 2026\]** Roberta Lips: Coup de Bluff Society: Casualties of War Perennial: What’s New on the Beat Scene Quitters: Try Deathfakers: It’s Nice to Take the Bus Finale: Yo-yo Artificial Go: Jane Ate the Apple Seed Gull House: Punch Salad Cherry Cheeks: Bytes’ Ballad L.O.T.I.O.N. Multinational Corporation: Digital Rot Mirage: Raccolto Putrido The Ashies: Corporate Livestock Non Plus Temps: Specks Tower of One: Doomed Reveal Yourself: sicko Body Suit: On a Mission Sniffany & the Nits: Best of Luck OUCHIE!: yesyesyes The Sleeveens: Six Counties Punk Cel Ray: Price of Gas Prisão: Bombas por paz Double Date: That Age Consensus Madness: New Bag (Money) C.C.T.: Salt --- [**see/saw radio 81**](https://www.mixcloud.com/evanminsker/seesaw-radio-81/?ref=see-saw.fun) **\[June 10, 2026\]** Odor Eater: Nightcaller Finale: Almas perdidas Pleasure Cube: The Woodshed Gimic: The Instrument Optic Sink: Laughing Backwards Double Date: Copycat K9: Get Loaded and Smile Cover My Shift: “Mark Wilson” SUX: STATIC The Caries Company: Of the Gula Rare Spam: To've Been Green Cola: Favoured Over the Ride The Educated Fools: Situational Irritation Media Puzzle: My Age, In Minutes and Seconds Slippers: Wasted Tonight Brash Habits: Misfit Prison Sex Mex: Needles in the Camel’s Eye SOLA: Una Vida de Lamentos Acid Casualties: Bring the War Home Plastic Meat: From Dusk Till Dawn ÉSZLELÉS: KÉSDOBÁLÓ --- [**see/saw radio 80**](https://see-saw.fun/puzzleheads-new-shoegaze-jams-beyond-big-sniffs-shadow/) **\[June 4, 2026\]** Prisāo: Jaulas Nadie Lo Quiere: Paranoia Hez: Mierda de Vida Despertá: Pertenezco MUELL: Arbeit Siyahkal: Time to Hunt Burnout Ostwest: Sei kein Schag, trag Schaf Prisonnier du Temps: Dernier Regard Alerta Vermelho: Mar de Lama WWW: Chatbot Atol Atol Atol: Przyszłość Skacze z Miejsca na Miejsce (live) Tiempos Muertos: Tiempos Muertos sprgrs: Papiroflexia Raw Distractions: 立脚 La Llama: Quiero ser olvidado Tórax y Las Extremidades: Navaja Gris Castigado: Yo Cifrado Cuir: Majeur en l’air Pura Manía: Planeta Gótico Esperanza: 犠牲者 La RAF: Violencia Amor, Muerte Y Leonora: La selva GRIPP!: Dime si vale la pena Tiikeri: Parempi Kuin Tänään _This page is for paying subscribers only._ ### Tip Jar URL: https://see-saw.fun/tip-jar/ Last updated: 2025-10-04T00:02:28.000Z _No content available._ ### Advanced User Settings URL: https://see-saw.fun/advanced-settings/ Last updated: 2025-10-04T00:02:28.000Z _No content available._ ### Group Subscriptions URL: https://see-saw.fun/group-subscriptions/ Last updated: 2025-10-04T00:02:29.000Z _No content available._ ### Buy a Group Subscription URL: https://see-saw.fun/buy-group-subscription/ Last updated: 2025-10-04T00:02:29.000Z _No content available._ ### Give a Gift Subscription URL: https://see-saw.fun/gift-subscription/ Last updated: 2025-10-21T20:56:00.000Z _No content available._ ### see/saw presents... URL: https://see-saw.fun/see-saw-presents/ Last updated: 2026-06-02T22:57:59.000Z *Sometimes, I book shows—usually in Eau Claire and Minneapolis since I live between those two places. This is an events calendar. Here’s what I’ve got coming up. (Right now, nothing!)* --- **2026 (previous)** March 6, see/saw presents Greg Wheeler & the Poly Mall Cops, Panel, Two Castles Leona's, Eau Claire March 18, see/saw presents TAKAAT, Censer SHIFT, Eau Claire March 27, see/saw presents Makin’ Out, Heather the Jerk, Brendan Wells, Orchid Club NEW WORLD, Minneapolis (ask a punk) March 28, see/saw year 2 The Sleaze (first “and only” show in 13 years) Kilynn Lunsford, Bermuda Squares, Miracle Debt, TY, BUIO OMEGA, W-9 Eagles 34, Minneapolis April 11, see/saw presents Eraser, Winston Hightower, Yuasa-Exide, Tommy Disgraceland, Minneapolis April 16, see/saw presents Early Grave, Reek Minds, Class Act Rubberman, Fatal Peace Eagles #34 (Shadewald), Minneapolis May 10, see/saw presents Rotary Club, Rubberman, Vertigo, Visual Learner NEW WORLD, Minneapolis (ask a punk) --- ## Posts ### punk this week podcast 100: tense + 1-800-mikey URL: https://see-saw.fun/punk-this-week-podcast-100-tense-1-800-mikey/ Last updated: 2026-09-08T20:22:15.000Z [Punk This Week](https://see-saw.fun/tag/podcast/) *is see/saw’s weekly podcast from co-hosts Evan Minsker and Nina Corcoran—a discussion of the latest and greatest in the world of punk rock. We talk about six new punk records we’re loving from the past week.* On the centennial episode of the podcast, Nina returns from Australia with tales of bands, bites, and BIZZA. We discuss new albums from [Tense](https://mangelrecords.bandcamp.com/album/no-cure?ref=see-saw.fun), [1-800-MIKEY](https://1-800-mikey.bandcamp.com/album/in-yun-2?ref=see-saw.fun), [the Alices](https://thealices.bandcamp.com/album/the-alices?ref=see-saw.fun), [Spread Joy](https://spreadjoy.bandcamp.com/album/iii?ref=see-saw.fun), [liga de barro](https://ligadebarro.bandcamp.com/album/liga-de-barro?ref=see-saw.fun), and [HININ](https://hininband.bandcamp.com/album/diagonales?ref=see-saw.fun). Shout out new records by [the Go](https://listentothego.bandcamp.com/album/free-electricity?ref=see-saw.fun), [Loose Lips](https://staylooselips2.bandcamp.com/album/love-you-2?ref=see-saw.fun), [Gleetch](https://gleetch35.bandcamp.com/album/summer-demo-26?ref=see-saw.fun), [Dirty Secret](https://popularaffliction.bandcamp.com/album/to-the-grave?ref=see-saw.fun), and [Snout Fever](https://snoutfever.bandcamp.com/album/snout-fever?ref=see-saw.fun). Ad-free and bonus episodes are available only to paid [see/saw subscribers](https://see-saw.fun/punk-this-week-podcast-ty-segall-totalitar/#/portal/)with the link at the bottom of this page! [There’s a 25% off Labor Day Sale that ends after today (9/8)](https://see-saw.fun/#/portal/offers/6a9b2bfd9e43bd0001cbe223). Share this show with your friends! Leave us a five star review on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun) and we will talk about a snack of your choosing! --- *Punk This Week* is a [Ruinous Media](https://www.ruinousmedia.com/?ref=see-saw.fun) podcast; thanks to Ruinous for their support. Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.funhttps://feeds.captivate.fm/punk-this-week/). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/see%5Fsaw.fun/?ref=see-saw.fun) and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). Have a question you’d like to hear addressed on the show? Want to talk about a new record we didn’t discuss? Want to send a HARD PIVOT bumper? Join us on the see/saw [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun) or email us: [see-saw@see-saw.fun](mailto:see-saw@see-saw.fun). *Punk This Week* is made possible first and foremost by see/saw subscribers. Please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-ty-segall-totalitar/#/portal/) if you enjoy this podcast. You’ll get ad-free and bonus episodes, plus the weekly [Punk This Week column](https://see-saw.fun/tag/punk-this-week/) and the [see/saw radio](https://see-saw.fun/see-saw-radio/) archive! _This post is for paying subscribers only._ ### punk this week: eraser, 1-800-mikey, the go, spread joy + 27 more URL: https://see-saw.fun/punk-this-week-eraser-1-800-mikey-the-go-spread-joy-27-more/ Last updated: 2026-09-04T21:54:26.000Z Hey, it’s [Punk This Week](https://see-saw.fun/tag/punk-this-week/). Before we get to this giant-sized new music recommendations column, an announcement! I’m running a Labor Day weekend sale: [25% off annual subscriptions](https://see-saw.fun/labor-day-sale) and [gift subscriptions](https://see-saw.fun/gift-subscription/). That’s $30/year for you or a beloved punk rocker (ends Wednesday). Back to business. This column is a doozy—31 blurbs about new records. Partially that’s because it’s Bandcamp Friday, which always brings out a wealth of new stuff. There are new records out this week by Eraser \[*ed. not yet actually, an accidental early upload*\], 1-800-MIKEY, Spread Joy, Generacion Suicida, Anytime Cowboy, Loose Lips, Military School, Retail Simps, and so many more. And the Go released their lost record! It’s seriously an unreal week for new music. see/saw has free stuff for free subscribers, including the first blurb of the weekly column. To get the full column with underground punk recs and tons of writing delivered to your inbox every week, get behind the paywall ([on sale!](https://see-saw.fun/labor-day-sale)). Paid subscribers also get episodes of the bonus podcast [*see/saw jukebox*](https://see-saw.fun/tag/jukebox/)*—*including the new episode with Christina from Gouge Away—and the full [see/saw radio](https://see-saw.fun/see-saw-radio/) archive. Thanks for reading. Have a nice long weekend and go buy some sick records. --- **Eraser:** [***Operator!***](https://wereeraser.bandcamp.com/album/operator?ref=see-saw.fun) **\[Siltbreeze\]** On “Trey” off their new album *Operator!*, Sonam Parikh alludes to the recent lynchings that have been falsely being labeled suicides. That gets flipped into this insistent chorus that addresses that horrifying reality as a petty domestic squabble: “If you were gonna fix it then it would’ve been fixed.” It’s a narrative carryover from their excellent debut *Hideout*; Philadelphia’s Eraser have a tendency to weave the seemingly superficial with the traumatic. They’re playful in the darkness, clear-headed but coping. There’s an undoubted lightness to the band’s approach on *Operator!*, be it the album’s phone menu bookends or the full-band bounciness of the perfectly titled instrumental jam “Imp.” Then there’s “DVD,” an absolute showstopper. Led and largely defined by the near-drone of Kat Bean’s scuzzy and massive bass rumble, Sonam’s mini-synth stabs accompany their list of technological trash—seemingly an allegory for the fucked state of living online. Pier Harrison’s guitar takes to the woozy stratosphere on “Crindy,” and it’s essentially a second vocalist on “Innard Skynyrd.” Whether Juliette Rando’s literally blowing the whistle or providing the album’s bounce, she’s the urgency and the engine. *Operator!* continues the streak of Eraser records that are punchy, digestible, and profoundly cool. It’s not just that the influences and danceability are there, though that helps. It’s that they nail a few ideas perfectly and get out of their own way. When they don’t need words, they don’t reach for them. Sonam’s synth performances are a key example of this. It’s simple and fun, but prodding. Time to move. \[*The album is out 9/18; it was temporarily up on the Siltbreeze Bandcamp, but it’s down now. Get ready though, it’s very good.*\] [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/09/a3371911823_10.jpg)](https://wereeraser.bandcamp.com/album/operator?ref=see-saw.fun) _This post is for paying subscribers only._ ### see/saw jukebox: gouge away’s christina michelle URL: https://see-saw.fun/see-saw-jukebox-gouge-aways-christina-michelle/ Last updated: 2026-09-08T15:30:07.000Z [*see/saw jukebox*](https://see-saw.fun/tag/jukebox/)is a bonus podcast about perfect punk records from *Punk This Week* hosts Nina Corcoran and Evan Minsker. Each episode, we’re joined by special guests to curate perfect punk records for a mythical jukebox. Christina Michelle joins us on the heels of [Gouge Away](https://www.gougeaway.com/?ref=see-saw.fun)’s recent signing to Run for Cover and their new single “[Figurine](https://gougeawayfl.bandcamp.com/album/figurine?ref=see-saw.fun).” As the band works on a new album, we say hello to her cat Noodle, discuss the Florida punk scene, and she drops the vocal care routine (and fires some shots at Throat Coat). And of course, we add three new records to the jukebox. If you’d like to hear this episode of [*see/saw jukebox*](https://see-saw.fun/tag/jukebox/)or our [previous chats](https://see-saw.fun/tag/jukebox/) with members of the Marked Men, Touché Amoré, Citric Dummies, DEVO, Sweeping Promises, Optic Sink, Downtown Boys, MSPAINT, Eraser, and King Tuff, they’re all available exclusively to [paid see/saw subscribers](https://see-saw.fun/see-saw-jukebox-downtown-boys/#/portal/) ($4/month or $40/year or [barter](https://see-saw.fun/bartering/) \+ there’s a two-week free trial)! Subscribe and listen below. _This post is for paying subscribers only._ ### puzzlehead’s new shoegaze jams beyond big sniff’s shadow URL: https://see-saw.fun/puzzleheads-new-shoegaze-jams-beyond-big-sniffs-shadow/ Last updated: 2026-09-02T21:00:18.000Z As a musician, [Katayoon Yousefbigloo](https://katayoonyousefbigloo.com/?ref=see-saw.fun) isn’t concerned with following traditional album promotional cycles. “I’m just such a bad career person or whatever. Like when it comes to music, it’s such a project-to-project thing for me. I always feel bad for the people that put out records for me, ’cause I’m just like, ‘Ah, I’m done’ after I send it off,” she says near the end of our interview. “I’m not like, ‘OK, now, I’m gonna go sell this record,’ or whatever.” One reason is because Katayoon simply has too much on her plate. The Persian Canadian artist is a multihyphenate to the point where her artistic identity reads like a run-on sentence. She’s a multimedia visual artist working in fine art, photography, and video. She is a published writer and poet, with her musings captured in various zines and underground literary and art mags. And—especially for the purposes of this article—she plays music, and lots of it, having participated in a smattering of projects (including the experimental pop group Big City, [who released an EP titled *Liquid Times* on K/Perennial Records in 2022](https://bigcityca.bandcamp.com/album/liquid-times?ref=see-saw.fun)), but is probably best known as the creative nucleus of revolving-door art rock ensemble [Puzzlehead](https://puzzlehead.bandcamp.com/?ref=see-saw.fun). ## Sign up for see/saw a punk and rock’n’roll newsletter by evan minsker Subscribe Email sent! Check your inbox to complete your signup. No spam. Unsubscribe anytime. [*Big Sniff*](https://see-saw.fun/punk-this-week-podcast-ty-segall-totalitar/), Puzzlehead’s mesmerizing 2019 LP, filters an array of styles through Katayoon’s tastes and experiences. Featuring heavy lyrics sung softly and buried deep in the mix, the Puzzlehead of *Big Sniff* alternates between some of the most delectable noise pop this side of Henry’s Dress and what Polvo might have sounded like if they were from the Pacific Northwest—and were as blown away by side two of Black Flag’s *My War* as so many of their peers from the region. This past spring’s [*Chessman Hazard Codechange Household*](https://inuwanwan.bandcamp.com/album/chessman-hazard-codechange-household?ref=see-saw.fun)has a much more pronounced shoegaze flavor. Katayoon is an accomplished artist with such a singular worldview, so the four songs on it never drift into snoozeworthy territory like so many contemporary bands under that genre’s umbrella. Nor do she and her bandmates use walls of pedal-treated guitar to hide the fact that they can’t write songs; there are nothing but jams on that EP. On a Tuesday afternoon in July from her Vancouver, British Columbia apartment, Katayoon detailed her childhood musical influences, the fluidity of Puzzlehead, amd the empowerment she found in the local DIY scene. --- ![Katayoon Yousefbigloo, aka Puzzlehead; photos by Natasha Katedralis](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/09/PUZZLEHEAD-07.jpg) Katayoon Yousefbigloo, aka Puzzlehead; photos by Natasha Katedralis **What is your earliest memory of being captivated by music?** Oh, wow. Heavy hitter off the top. It was watching Persian music videos on VHS when we came to Canada in the ’90s. In North America, you could get these bootleg VHSs from random Persian grocery stores that had these L.A. Persian bands doing North American Persian pop songs. And the music videos were so crazy, I just remember watching the VHSs of them and being so enthralled. I think it was partly the music, but it was also the video element. They have this very iconic style of live music video that’s staged, like a live performance on a really decked out set. I was able to replay them over and over again. So I remember getting obsessed with those VHSs. **How old were you?** Oh, that must have been age four. I think at some level it’s stuck with me subliminally in many aspects of my music and video making. **You said that they maybe subliminally influenced your style. Is there a way that it may have consciously influenced your style as an artist of any sort?** I’ve been making music videos for the past, whatever, 10 years. And then there was a moment where I was like, “Oh, I’m just doing this aesthetic that I was exposed to.” I was doing it unconsciously, and then I realized that I was able to, at least with my video stuff, meaningfully use those kinds of aesthetics. And then with my music recently, I’ve been sampling ’90s cassettes or Persian tapes by the same artist that I was watching in these music videos. I’ve been sampling different little snippets. So I think now it’s a bit more intentional with those elements. **When do you remember really getting into music? I think everyone who gets into music, whether they’re an artist or a video director or a writer, they have that one band or that one song that they really got into where it was like, “OK, music is for me.” Was there an artist or a grouping of artists for you?** Yeah, I would say probably Bowie. I went to high school in the suburbs, and there was a record store, and they had the record, and I was just like, “This person looks really cool.” I bought it and it kinda blew my mind. I didn't think that I would make music until much later, it just seemed very inaccessible, but that’s when I knew. I was like, “OK, this is my thing.” In high school, I was working at a CD store, and then I would just go to shows. Then I eventually started playing music a little bit later, like in my twenties. But yeah, David Bowie and the Velvet Underground. I remember “Heroin,” actually, if you wanna talk about mind-losing experiences. That song kinda changed everything, as far as understanding what music could be, or its purpose. When I listened to it, I didn’t know shit. That song is about stuff that a 14-year-old suburban kinda sheltered girl doesn’t necessarily have the life experience to understand. But there was some kind of experience that was beyond the song that changed everything for me. **When you started playing music in your twenties, what was the punk scene like in Vancouver? Did you get introduced to local music through the punk scene?** Yeah, I guess that I got introduced to it through a punk scene. My introduction to playing would probably be this venue called Red Gate, which, however many years later, I’m somehow involved in. I’m on the board, and I help with the booking. I literally just wandered off the street one day. There were just a bunch of weirdos sitting and smoking at a table. There was a power outage weirdly, so they were all in the dark. And I was like, “Oh, hey, you guys are really weird. Can I join?” And then that was like... “It’s like a community. It’s a DIY venue.” I remember seeing a couple things that, again, blew my mind where I was like, “You can do that?” I think there was such an inaccessibility for playing music for so long. So much of it is cultural or psychological or whatever. Pre-social media and phone suburbs was a different, isolating kind of experience. Things felt a little bit less possible in certain ways, or there was just less visibility of it. But anyways, so when I saw my first noise show or my first woman playing the guitar, I was like, “Oh, crazy. I can *do* that?” And yeah, I remember a couple very formative experiences, like Anju Singh. She was playing a crazy noise violin set, and also another lifer person where I was like, “Oh, there’s a different way of doing—being in this world that’s not commercial, not glossy, and not white male.” **Tell me about the bands that led you to forming Puzzlehead.** I would say Royal Trux, Neil Young, and weirdly, Magnetic Fields. If I’m thinking about the actual early formation, I think I was listening to some pop music essentially. But I would say Neil Young and Royal Trux are my top two forever-rotated artists. And I started Puzzlehead when I was learning how to play guitar. I was in other bands playing other instruments. I was writing songs and stuff, but it was a little bit different. I feel like the guitar had the mobility that I needed to write songs and to form narratives around the lyrics I had. I think it was driven by the writing. I was weirdly spinning *69 Love Songs* so much. What is the band that they had before that? I’m blanking right now. The Magnetic Fields, what’s the guy’s name? **Stephin Merritt.** Yeah, I guess he was in a band beforehand. I somehow had those tracks, and I was listening to them. And anyways, there was a more lo-fi version of Magnetic Fields and sketches of those songs. So I think that was like, “OK, I’ll just do it.” And Smog. I was listening to a lot of early Smog, before Bill Callahan got good at guitar. That was one of my biggest references. **How does this project that started in your head as a way for you to formulate songs around your writing turn into the band that recorded *Big Sniff*?** *Big Sniff*, yeah, that was a very special version of the band. The band was in Vancouver. We had a band; everybody’s in the band and writing songs. I’d come up with the basic structure, but it was very collaborative, and everybody's writing their own parts and whatnot. The drummer in the band, Olga, and I were the core of the project, and we had different iterations with different people. Then we both moved to Montreal in 2017, let’s say. And my goal was to just make an album. I was going through some heady stuff, and I needed to get out of town. My plan with Puzzlehead was to write this album and record it. I called it my “unofficial residency” in Montreal, and I played with some people I knew there. It was a very “rock” era of Puzzlehead. Every song on that album has a wanky guitar solo. Which is awesome. But this last EP I did, I was like, “No solos.” I’m really maturing. But that one was a lot of solos, sometimes conflicting at the same time. And then we recorded that, yeah, with Renny Wilson at his studio. And then basically I finished tracking it and then got on a plane and came back to Vancouver. **Would you mind sharing some of the where your head was at when you were writing some of the songs for *Big Sniff*?** I was just tripping out on life in some ways, and personal relationships were...I had been just touring a lot, maybe feeling like I was uprooting myself. I was touring a lot. **It’s not conducive to a healthy lifestyle.** It’s just not. It’s not. When I was in Montreal, I think I was away from those things that are, like, my markers of my identity. Just my stuff and my people. So I was able to face my demons a little bit, \[as well as\] crutches of my past self in the most dramatic way possible. I feel like at a certain point when you’re doing the same thing for so many years making experimental art and music, you’re like, “OK, I’ve been doing this for a long time. Do I up and do something else with my life and myself to be meaningful in this world? Do I double down and just go harder and in the sense of trying to make this my life? Or do I just assess what the spiritual significance of this is and hold onto that in spirit in whatever I do?” I went with that third option. I think it’s also just the end of your twenties where you kinda just trip out. Now with some perspective I’m like, “Wow, I was being dramatic.” But then also I do think it’s good when you’re making art to always just be questioning. I think for me it was coinciding with some personal psychosity, if that’s a word, that was happening. I can barely remember the songs, to be honest. I don’t play them. I play stuff from other albums, but I don’t think I play any of those songs, weirdly. **I read in an interview that you said you felt bored with playing old songs. Is that part of it? Or is the spiritual weight of what you were going through also part of why you don’t play those *Big Sniff* songs?** I think it’s both. Some of those songs I don’t remember how to play, if I’m being honest. And it’s because I was playing them with certain people. A lot of my songs have been played with multiple iterations of the band, and solo, and a two-guitar setup, and blah blah blah. Different arrangements. I would say with the *Big Sniff* songs, it feels like a different person. The iteration that I’m doing right now is me solo most of the time. Sometimes with another guitar player, like a two-guitar thing. But I find the solo set to be too earnest. I’m just singing and it’s obviously my words. There’s no drummer to hide behind. There’s no one else to make eye contact with but me. It’s too much. **Let’s talk about the new EP, *Chessman Hazard Co-Change Household*. Was there a germ of an idea that came about to inspire this? Or did you just record the songs and were like, “Now I have an EP”?** Olga, the original drummer, came to Vancouver, and we were like, “Let’s just write an EP.” And ’cause we’re always looking for excuses to fly to see each other. And so when she got here in 2022 or something, we spent a few days in the rehearsal space basically writing these songs. I had ideas. I think I had the words first. We recorded those with Josh Stevenson at Otic Sounds. I think we got him to play bass. And I think, yeah, we got him to play bass. And then Olga left. We had these few songs, and then I didn't really know what to do with them. I realized I’ve never really done it before where you just record the song right after you write it. I needed to workshop it a bit live. And so when I started playing shows again with a live band, I was like, “Oh, actually we need to change the ending or whatever.” So we ended up re-recording a few of the songs. Olga’s drumming is still on “The Hippies Won,” the last track. And which is too bad ’cause I really did love her drumming. The final session that I did was with the original guitarist Ethan, and then Giles from Woolworm, another guitarist who I have always admired. I was like, “Oh yeah, I just need 18 guitar tracks,” or whatever. Once we did that, it was basically all done. **I was almost afraid to bring up that it has a shoegaze sound, but when you mentioned there being like 18 guitar tracks, I don't quite feel as dweeby for pulling out the shoegaze reference.** Yeah, it definitely is the most shoegaze album. I had been playing guitar in [Hotline TNT](https://hotlinetnt.bandcamp.com/?ref=see-saw.fun) on tour for a couple years, and I think I was also writing those songs at that time, so I’m sure there was some aesthetic bleed there. When I’m writing alone, I end up doing a bit more of a higher range, breathy, less screamy punk vocal, then those songs end up being more shoegaze because of that, I think. In my mind, more pop than if I was trying to compete with two other guitarists or something for sound space. **You once said that playing in a band is so archaic. Do you still feel that way? And if you do, how do you reconcile that with continuing to play in a band?** I would double down on that, but now I mean it in a different way. It’s archaic in the sense that it’s eternal. A cow’s skin stretched over a metal ring reverberating sound waves when you hit it. That’s just it. **It’s my favorite sound in the world.** It’s eternal and archaic, but not in a bad way. And it’s also like some people have whatever their beer league hockey thing or their book club or religion; something to make themselves feel connected to other people. **You seem to be the type of artist who goes and follows your creative instincts. What’s next? What are you working on? What pathways are you finding in your creative life right now?** I’m working on a video right now basically, I would say is my main project. I’m not calling it a film because that would mean that I would have...it’s not quite a film. I don’t really know the procedure to make something into a film, but it’s a video. And I think I’m just trying to make something that can be experienced kind of simply. With a lot of my art projects, I’m like, “Yeah, it’s a video, but you need it installed this way, and there’s gonna be a live element, and this sculpture here, and whatever. So you have to experience it in a certain way.” Or it’s a music video, which I love making music videos for that reason—they’re just so accessible. But I also find with music videos, people watch the first 15 to 30 seconds on their phones and it’s very accessible, but it’s too accessible, so the most they’re getting out of it is aesthetic. ![Katayoon Yousefbigloo, aka Puzzlehead; photos by Natasha Katedralis](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/09/PUZZLEHEAD-02-1.jpg) Katayoon Yousefbigloo, aka Puzzlehead; photos by Natasha Katedralis **Yeah, they don’t engage with it.** And I love making them. They’re so fun. That’s really been a huge part of my life. But yeah, now I’m like, “OK, what if you sat and watched something, and it did all those things that I was trying to do with those other elements that I always throw into my artworks? What if it was just able to do it through the video?” And I think that’s maybe a very obvious thing that filmmakers are just trying to do. But I’ve just never really thought of it in that way. It has a big music and sound element to it. And that’s the bigger project that I’m working on right now. Other than that, I have these ongoing projects that are kind of community projects. Or that’s just the word that is used. I don’t know. It’s such a weird way of framing it, but they’re like parties or whatever, or experimental art shows that I help with. I organize and curate part of this thing I have called Liquidation World. I had a storefront up until a few months ago, like October, I think. Now it’s more of an offsite project type thing. But I’m still doing that. That brings me a lot of joy 'cause I get to do this artwork of conceiving of the show but not have to perform or whatever. I really like that. I’d like to make some more music. I’m working on this solo version of Puzzlehead, and so far I’ve been focused on the performing side of it just ’cause I hate doing it. I hate being alone up and performing, and I’ve been just focusing on the live element of it and fleshing that out. I’ve written one song with that kind of arrangement in mind with the looper and drum beats. I’m excited to see if I can do more with that in mind ’cause it opens up a lot of things. It closes a lot of doors, but it opens up some possibilities, too. --- *You can find more of Martin Douglas’ writing over at his newsletter* [*Trick Bag*](https://trickbag.substack.com/)*.* *see/saw is a reader-supported publication. If you enjoyed this piece, please share it and* [*subscribe*](https://see-saw.fun/bullseye-wont-do-the-same-thing-twice/#/portal/)*.* ### punk this week podcast: ty segall + totalitär URL: https://see-saw.fun/punk-this-week-podcast-ty-segall-totalitar/ Last updated: 2026-09-01T20:51:02.000Z [Punk This Week](https://see-saw.fun/tag/podcast/) *is see/saw’s weekly podcast from co-hosts Evan Minsker and Nina Corcoran—a discussion of the latest and greatest in the world of punk rock. We talk about six new punk records we’re loving from the past week.* While discussing [Toffifay](https://www.storck.us/en/brands/toffifay?ref=see-saw.fun) at the five-star review behest of true head and grocery store vandal [Geriatric Punk Rocker](https://www.instagram.com/geriatric%5Fpunkrocker/?ref=see-saw.fun), Evan and Nina are shocked by Brazil’s [rendering of Tony the Tiger as a scheming pervert](https://www.instagram.com/p/DJKtcH7vzLt/?ref=see-saw.fun). Nina prepares to raid Australia’s snack offerings. We bring new records by [Ty Segall](https://tysegall.bandcamp.com/album/chrome?ref=see-saw.fun), [Totalitär](https://totalitarsweden.bandcamp.com/album/totalit-r-s-t?ref=see-saw.fun), [Nekra](https://lavidaesunmus.bandcamp.com/album/is-it-really-living?ref=see-saw.fun), [Kurralta Park](https://kurraltapark.bandcamp.com/album/powell-place?ref=see-saw.fun), [No Magic](https://bendandorbreak.bandcamp.com/album/no-magic-no-magic?ref=see-saw.fun), and [DETH](https://dethboorloo.bandcamp.com/album/deth?ref=see-saw.fun). Shout out [Wine Lips](https://winelips.bandcamp.com/album/tv-dinner?ref=see-saw.fun) and [Rat Cage](https://lavidaesunmus.bandcamp.com/album/not-asking-for-much?ref=see-saw.fun). Ad-free and bonus episodes are available only to paid [see/saw subscribers](https://see-saw.fun/punk-this-week-podcast-plum-guiding-light/#/portal/)with the link at the bottom of this page! Share this show with your friends! Leave us a five star review on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun) and we will talk about a snack of your choosing! --- *Punk This Week* is a [Ruinous Media](https://www.ruinousmedia.com/?ref=see-saw.fun) podcast; thanks to Ruinous for their support. Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.funhttps://feeds.captivate.fm/punk-this-week/). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/see%5Fsaw.fun/?ref=see-saw.fun) and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). Have a question you’d like to hear addressed on the show? Want to talk about a new record we didn’t discuss? Want to send a HARD PIVOT bumper? Join us on the see/saw [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun) or email us: [see-saw@see-saw.fun](mailto:see-saw@see-saw.fun). *Punk This Week* is made possible first and foremost by see/saw subscribers. Please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-plum-guiding-light/#/portal/) if you enjoy this podcast. You’ll get ad-free and bonus episodes, plus the weekly [Punk This Week column](https://see-saw.fun/tag/punk-this-week/) and the [see/saw radio](https://see-saw.fun/see-saw-radio/) archive! _This post is for paying subscribers only._ ### playlist: the 58 best punk songs of august 2026 URL: https://see-saw.fun/playlist-the-58-best-punk-songs-of-august-2026/ Last updated: 2026-08-31T22:03:51.000Z [Miracle Debt](https://miracledebt.bandcamp.com/?ref=see-saw.fun) were playing a brand new song last night when my glasses flew off my face for probably the fourth time. I finally shoved them in my pocket. It was a warm night in Eau Claire, but it was especially sweaty in The Venue. Neither of the two box fans we found in there were working. It was a stellar four-act bill: half hollerin’ Arkansas singer-songwriters ([Adam Faucett](https://www.adamfaucett.com/?ref=see-saw.fun) and [William Blackart](https://williamblackart.bandcamp.com/?ref=see-saw.fun)) and half Minneapolis punks ([Pleasure Cube](https://pleasurecube.bandcamp.com/?ref=see-saw.fun) and Miracle Debt). Drenched in sweat is the correct format for a very loud Debt show. Katie, Forrest, and Mike *perform*, rendering their outstanding rock’n’roll songs intensely physical. It was a good night—hanging with friends, sweating way too hard, and popping a lens back into my frames while smiling way too hard. A great rock show can at least momentarily shake me out of my burnout or anxiety or grief. I wrote a similar thing about [seeing the Gories in Detroit](https://see-saw.fun/going-feral-for-the-gories-in-detroit/) last month. That show was special not only because I watched legends effortlessly crush on their home turf, but also because of the two ass-kicking young bands on the bill. Falling for a new punk band means having your head rearranged in a brand new way. Pleasure Cube, for example, have this hypnotic dour approach that feels like its own thing within the Minneapolis punk scene. Miracle Debt feel like one of the greatest American rock bands going at the moment—earnest and vitriolic and raw. Seeing those bands live grounded me to the present. I guess that’s the point of see/saw. Chronicling the latest in new punk and rock’n’roll is my long-haul effort to chase that bizarrely reassuring feeling wherever I can find it. August was a very good month for feeling renewed by excellent records. A [paid subscription](https://see-saw.fun/#/portal/) to see/saw will run you $4/month or $40/year or barter (NOTAFLOF). It’ll get you weekly punk recommendations columns, bonus podcasts, and the see/saw radio archive. Thanks to everybody who’s kicked over some money over the past two and a half years. It’s a rough time for music writers, so if there’s somebody out there writing about the stuff you like, support them however you can. Shout out [Maximum Rocknroll](https://www.maximumrocknroll.com/?ref=see-saw.fun), [Heathen Disco](https://www.heathendis.co/?ref=see-saw.fun), [POW Mag](https://www.powmag.net/?ref=see-saw.fun), [Trick Bag](https://trickbag.substack.com/), [Razorcake](https://razorcake.org/?ref=see-saw.fun), [Yellow Green Red](https://www.yellowgreenred.com/?ref=see-saw.fun), [Former Clarity](https://www.formerclarity.com/?ref=see-saw.fun), [Hearing Things](https://www.hearingthings.co/?ref=see-saw.fun), [Barely Human](https://www.barelyhuman.info/?ref=see-saw.fun), [Don’t Rock the Inbox](https://www.dontrocktheinbox.com/?ref=see-saw.fun), [Compilation Nation](https://compilationnation.substack.com/), [Dan Ozzi](https://danozzi.substack.com/), [Last Donut of the Night](https://last-donut-of-the-night.ghost.io/?ref=see-saw.fun), [Another Thought](https://anotherthoughtanotherthought.substack.com/), [Good Experimental Music](https://www.goodexperimentalmusic.com/?ref=see-saw.fun), [MDR Observer](https://mdrobserver.substack.com/), [Gimmie Gimmie Gimmie Zine](https://gimmiezine.com/?ref=see-saw.fun), [Hot Sounds](https://hotsounds.substack.com/), [Quinn Moreland](https://www.quinnmoreland.com/?ref=see-saw.fun), [Matthew Strauss](https://matthewstrauss.substack.com/), [Rate of Decay](https://rateofdecay.bigcartel.com/?ref=see-saw.fun), [the Line of Best Fit](https://www.thelineofbestfit.com/?ref=see-saw.fun), [Tone Glow](https://toneglow.substack.com/), [Aquarium Drunkard](https://aquariumdrunkard.com/?ref=see-saw.fun), and [Stereogum](https://stereogum.com/?ref=see-saw.fun). Sorry to everyone I’m forgetting. [**see/saw’s 58 best punk songs of august 2026**](https://www.buymusic.club/list/seesaw-seesaws-best-punk-songs-of-august-2026?ref=see-saw.fun) Lothario: IOU NC FIVE: Radio X Why Bother?: The Final Ride Team Work: i burnt my tongue with f-icience this morning Diyl Tones: See See Tee Vee Que Lindo: In the Atomic Age Daddy's Boy: Grievance Process Useless Eaters: Cochon Sauvage Harry W: Theme Song The Shooters: High on Strife Guiding Light: Fear On My Own Time DIAPERS: COP KILLER Totalitär: Detta Är Vad I Fick Credit Card: This Is a Debt You Can Never Repay Headcheese: Dump Run Roo Stafford: White Paint Billiam: Birdman Rally OBI Strip: Money Weird 1000: Grass Pardoner: Twisted Sweeping Promises: My Anchoress Fast Johnny and The Slow Burners: Cold World Xanny Stars: Honey Generacion Suicida: Golpe Al Barrio Wild Thyme: Evan Nekra: Futuro Ideal ASININ: PERFECT DECEPTION DRAGNET: Hooded Ghouls URIN 3000: URIN 3000 Snake Wine: 10gal Tanker Foot Fetish: Think You're Gonna Rejekts: I Don't Wanna Sex Mex: Asshole Fifa Kid: Quizás RUCKUS: Hot in the City Perennial: Ready! Steady! Go! Dona Casque: Hot Tub Aidmoozic: Normal-ish Behaviour The Freebies: What’s On Ur Mind xray xeroxx: That's Why I Do Drugs DETH: All Bleeding Stops Rat Cage: Not Asking For Much Vague Fugue: I'm Still High Plum: Too Much Sunlight Um, Jennifer?: Jodie Comer Loose Lips: Beehive Teardrop Balaclava: Love Bog Lithophones: Too Tired to Hate Albuterol: Pressure Les solitaires: Mongoloïde Jug: Bug Frog Subversas: Disaffected Consent Clean Slate: FEMINIST. Huck: Nuff is Enuff Bleaks: Disarray Sabotage: Rodeo Clown The Brolic: Fight Crazy Clue: No Room In Hell Draft Dodgers: Hungry Man --- *see/saw’s monthly punk playlists are free. If you enjoyed this one, please share it around and* [*subscribe*](https://see-saw.fun/playlist-the-68-best-punk-songs-of-july-2026/#/portal/)*.* ### punk this week: nekra, ty segall, totalitär + 14 more URL: https://see-saw.fun/punk-this-week-nekra-ty-segall-totalitar-14-more/ Last updated: 2026-08-28T20:51:34.000Z Hey, it’s [Punk This Week](https://see-saw.fun/tag/punk-this-week/), see/saw’s punk and rock'n'roll record recommendations column. Ty Segall returns with a new album and an accompanying 12". Nekra and Rat Cage drop new ones on La Vida Es Un Mus. Totalitär return. There’s new stuff from Billiam, the Easy Eight, Ismatic Guru, Traps PS, and so many others. see/saw is a reader-supported independent punk publication, so if you want all the blurbs about great punk records delivered to your inbox every week, you have to [subscribe](https://see-saw.fun/punk-this-week-the-sleeveens-john-dwyer-puzzlehead-mock-execution-17-more/#/portal/) for $4/month or $40/year or [barter](https://see-saw.fun/bartering/). (NOTAFLOF, hit me up!) There’s a two-week free trial if you want to check it out. The perks are weekly columns, [bonus podcasts](https://see-saw.fun/tag/jukebox/), and the radio archive. Any support is genuinely massive. Thanks for considering, take care of yourself out there. --- **Nekra:** [***Is It Really Living?***](https://lavidaesunmus.bandcamp.com/album/is-it-really-living?ref=see-saw.fun) **\[La Vida Es Un Mus\]** A decade of curb stomping all comers has led the London-based hardcore outfit Nekra to *Is It Really Living?*. This is an absolutely massive and raw 7” where the vocals are rabid, the fuzz is all-encompassing, and the bass is dense as fuck. Their lyrics in both Spanish and English amplify that simplest of truths: time is limited, fresh blood is spilled with every passing moment. In a sea of hardcore records documenting the rise of mask-off fascism, Nekra’s fury stands out. It’s that serrated attack that bores deep, it’s that linked-arm solidarity belted with full-throated conviction, it’s that grisly vocal that fights fire with fire. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/08/a0693602891_10.jpg)](https://lavidaesunmus.bandcamp.com/album/is-it-really-living?ref=see-saw.fun) --- _This post is for paying subscribers only._ ### punk this week podcast: plum + guiding light URL: https://see-saw.fun/punk-this-week-podcast-plum-guiding-light/ Last updated: 2026-08-25T14:02:26.000Z [Punk This Week](https://see-saw.fun/tag/podcast/) *is see/saw’s weekly podcast from co-hosts Evan Minsker and Nina Corcoran—a discussion of the latest and greatest in the world of punk rock. We talk about six new punk records we’re loving from the past week.* Nina’s voice is compromised once again, but this time, it’s Alan Schilke’s fault. That’s right, she’s back from Cedar Point, where a surprise literally fell into her lap during one of many rollercoaster rides. Nina gets to the Sweeping Promises gig. Evan’s drinkin’ huckleberry soda. We talk about [Plum](https://plumbandchicago.bandcamp.com/album/bodies-in-motion?ref=see-saw.fun), [Guiding Light](https://guidinglightatx.bandcamp.com/album/fear-on-my-own-time?ref=see-saw.fun), [Black Marble](https://see-saw.fun/punk-this-week-i-will-die-in-this-jean-jacket-guiding-light-lothario-14-more/), [Xanny Stars](https://xannystars.bandcamp.com/album/take-shape?ref=see-saw.fun), [Clean Slate,](https://cleanslatescot.bandcamp.com/album/ren-skiffer?ref=see-saw.fun) and [Que Lindo](https://quelindo666.bandcamp.com/album/que-lindo-lp?ref=see-saw.fun). For more on Oslo’s punk scene, read Erik Egenes’ “[near-arctic state of alert](https://see-saw.fun/near-arctic-state-of-alert-tracking-norways-recent-punk-explosion/)” on see/saw. Ad-free and bonus episodes are available only to paid [see/saw subscribers](https://see-saw.fun/punk-this-week-podcast-sweeping-promises-xray-xeroxx/#/portal/)with the link at the bottom of this page! Share this show with your friends! Leave us a five star review on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun) and we will talk about a snack of your choosing! --- *Punk This Week* is a [Ruinous Media](https://www.ruinousmedia.com/?ref=see-saw.fun) podcast; thanks to Ruinous for their support. Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.funhttps://feeds.captivate.fm/punk-this-week/). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/see%5Fsaw.fun/?ref=see-saw.fun) and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). Have a question you’d like to hear addressed on the show? Want to talk about a new record we didn’t discuss? Want to send a HARD PIVOT bumper? Join us on the see/saw [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun) or email us: [see-saw@see-saw.fun](mailto:see-saw@see-saw.fun). *Punk This Week* is made possible first and foremost by see/saw subscribers. Please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-sweeping-promises-xray-xeroxx/#/portal/) if you enjoy this podcast. You’ll get ad-free and bonus episodes, plus the weekly [Punk This Week column](https://see-saw.fun/tag/punk-this-week/) and the [see/saw radio](https://see-saw.fun/see-saw-radio/) archive! _This post is for paying subscribers only._ ### punk this week: i will die in this jean jacket, guiding light, lothario + 14 more URL: https://see-saw.fun/punk-this-week-i-will-die-in-this-jean-jacket-guiding-light-lothario-14-more/ Last updated: 2026-08-21T22:53:52.000Z Hey, it’s [Punk This Week](https://see-saw.fun/tag/punk-this-week/)—see/saw’s new punk and rock'n'roll recommendations column. The Blind Shake’s Jim Blaha returns with a stellar new record under the name I Will Die in This Jean Jacket. Guiding Light’s long-awaited full-length is here. There’s new Lothario, Xanny Stars, Que Lindo, and Um, Jennifer?, among others. If you want to hear about the best stuff in the world of underground punk via an email delivered to your inbox every week, you’ve got to [get behind the paywall](https://see-saw.fun/punk-this-week-useless-eaters-team-work-daddys-boy-15-more/#/portal/). It’s $4/month, $40/year, or barter; there’s a two-week free trial. [Paid subscribers](https://see-saw.fun/punk-this-week-useless-eaters-team-work-daddys-boy-15-more/#/portal/) get the bonus interview podcast *see/saw jukebox*, the see/saw radio archive, and weekly columns. see/saw is a reader-supported publication, which means everything you see on these pages is funded by reader subscriptions. There’s no publisher or investors, just a former career music journalist with a day job and a lot of enthusiasm for the good stuff. [Subscribe](https://see-saw.fun/punk-this-week-useless-eaters-team-work-daddys-boy-15-more/#/portal/), read up, and take care. --- **I Will Die in This Jean Jacket:** [***Hang From a Cloud***](https://swami-records.myshopify.com/products/i-will-die-in-this-jean-jacket-hang-from-a-cloud-lp-limited-black-vinyl?ref=see-saw.fun) **\[Swami\]** While his friends have probably seen him around, Jim Blaha went into hibernation from public punk life after Green/Blue’s final show at 7th Street Entry in 2023\. It’s since been a vibrant period for Minneapolis punk, but without the Blind Shake or Green/Blue, something’s been missing. During that time, Blaha was in his basement cooking up a new solo project. The first record from I Will Die in This Jean Jacket shows Jim in quiet pop mode with “So Nice,” making driving and gauzy post-punk on “Above Me,” delivering sun-soaked garage rock with “D.O.A.,” and multi-tracking his vocals and a simple, point-perfect guitar lead on the unstoppable pop single “Too Bright.” It’s the kind of project with broad aesthetic ambitions, but oh how this record congeals. Blaha’s incredible at hook writing, and his vocals are gorgeous in this album’s overall understated mode. It’s wonderful to have him back. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/08/E770533F-428A-429C-B9CB-59F8444854BB_1024x1024-copy.jpg)](https://swami-records.myshopify.com/products/i-will-die-in-this-jean-jacket-hang-from-a-cloud-lp-limited-black-vinyl?ref=see-saw.fun) _This post is for paying subscribers only._ ### bullseye won’t do the same thing twice URL: https://see-saw.fun/bullseye-wont-do-the-same-thing-twice/ Last updated: 2026-08-19T16:47:25.000Z [Bullseye](https://bullseye2.bandcamp.com/?ref=see-saw.fun) taps into a type of guitar rock that no one really makes anymore. It’s easy to get too bogged down by nostalgia making this music, but Jake Barczak has somehow cracked the code for the modern age. Since 2020, the catalog of songs he’s developed for Bullseye are catchy yet well-crafted, personal yet universal, and most importantly, fresh. They’ve been called every sort of genre from slacker rock to jangle pop, but whatever it is they have, it comes from that great Midwestern guitar muse that Barczak must have been blessed by somewhere in his youth. Barczak hasn’t lived in Minnesota for years, and in other ways, Bullseye is uniquely at home in New York City. They’re a DIY band through and through, playing the basement shows and the shit bar circuits that weed out the weak. Barczak leads a band of consistent members, but the occasional rotation brings out some of the scene’s best musicians. Bullseye’s self-titled tape came out in 2024, and this year, some of those songs received new recordings on their first [vinyl release](https://evernever-records.bandcamp.com/album/bullseye?ref=see-saw.fun) with ever/never. Also self-titled, the 12” EP’s tight six songs are a revelation on wax, the true result of what hard work does for a sound. After taking a bus to the completely wrong intersection in Queens, I found Barczak and guitarist Oliver O’Haver at a sunny plaza in Ridgewood. They said it was a place they liked to hang out—right next to the street traffic but surrounded by foliage and quaint shops. We watched the local bodega cat attempt to climb a tree as drummer (and [graphic designer](https://www.instagram.com/p/DaRDuOQlBBn/?hl=en&img%5Findex=1&ref=see-saw.fun)) Humberto Ochoa arrived. Bassist Clara Salyer couldn’t make it, but she sent her love. And as we dragged together a few cafe chairs (that were chained to the ground), the band’s story unfolded. --- **When did you start making music in New York?** Jake: I moved here from Oakland in 2019 with a band called Patty that I played in. That was a post-punk project of sorts. We played here for a handful of years, and then it dissolved and Bullseye started. The songs started with me just writing on my own and finding a way to write rock songs that felt good. Like so many others, it was a deep Guided by Voices dive that began some of those songs. And it was also like so many others during the COVID-19 lockdown. I sat on those songs for a long time and self-recorded a lot of them. It wasn't until three years ago that I had some friends prompt me to make it into a band for a show, and then it built from there. There's been a lot of different people in the band over the years, but Oliver's been here the whole time. Humberto: Maybe you should go through the different iterations of the band. Jake: Okay, so the first one was Oliver and some folks I used to work with, Ben and Noah. Noah, honestly, I have to give him credit for making me book a show. We played with Oliver's other band, Burner Hertzog, at the famous Gold Sounds bar and lounge...discotheque, whatever. **Where we all start.** Jake: Exactly. At that time, we were called Red Gas Circle for one show. I then played in another band with Leighton \[Branaugh of [Guyscrapers](https://see-saw.fun/guyscrapers-set-their-sights-high/)\] called Act, and then Leighton played our drums. Then there was a tour I booked in 2024 in the summer where Leighton was in it, Oliver was in it, and then I got Jack Abbott \[of Answering Machines\] to come from Chicago and play a tour through some of the Midwest and the South. We were called Bullseye at that point. Oliver: Our first show was with another band called “Bullzeye” with a “z.” And I thought we were that Bullseye 'cause we had never had a flyer, and Jake asked, “Should it be with an ‘s’ or a ‘z’?” Jake: I guess they forced our hand to make it normal Bullseye. And then Jack went back to Chicago. I asked my old friend from Minneapolis, Clara Salyer, to play bass. Humberto: I got involved through Leighton. Jake: And then the lineup here has pretty much been Humberto, Oliver, me, and Clara. But then with a bunch of variations too. We just did a tour through the Midwest to Minneapolis where Donna Allen \[of Chronophage\] played her solo music opening up for us and then played guitar for half of the tour as well. And then this summer it'll be me, Jack again, Humberto, and Leighton. So yet another iteration. Oliver: I saw Bullseye without me in it in Pennsylvania, and it was really cool. It was like an out-of-body experience. Jake: Yeah, you were tripping. Oliver: I joined for the last two songs of that set, but I kinda wish I just saw the whole set without playing. I wish there was a version where all of us played. Jake: There should be; that would be fun. We made a very convenient chart to clock all the different members. Oliver: Like a Wikipedia timeline. I wanted to make shirts of it but...well, we still can. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/08/data-src-image-cc2ad205-933f-41c5-a631-177b58baa6aa.jpeg) **Do you think the energy of the band changes as the people change?** Jake: Yeah, definitely. It's kinda fun—always is a little different, or maybe a lot different with different members. I feel like even before I had a solid band, I'd shopped these songs around to so many people that I got used to teaching them. And they're not very hard, so it's easy for people to jump in. It feels like there’s been 100 different energies in the songs, which I dig. I guess one of the biggest vibe shifts was having Donna in the band for half the tour. She's a very unique guitar player, and she sang the parts that Oliver typically sings too, backing vocals and stuff, and added her own flair. I think that'll happen again with Jack this summer 'cause he's gonna play guitar this time, and I've kinda given him free rein to do whatever the hell he wants, so it's a big collective at this point. Humberto: Remember when Donna played those for the first time? It was a really big change that first rehearsal. Jake: She had heard the songs, maybe had sat down with the guitar and played them, maybe not, but she's pretty talented, has a good ear. So she was just playing the guitar parts from watching my hands and approximating the vocals. Making up words. It was great. Humberto: It was sick out of the gate. Jake: Yeah, it was very fresh. I would say it worked pretty well right away, despite the gibberish. Humberto: I think the biggest difference for me is Jake's drumming ‘cause I really, really like the way Jake plays drums. And I just can't play that way. It was a big adjustment when I first joined Bullseye 'cause I was used to playing in fast bands, or more herky jerky kind of bands, and this was the first time I had to really slow down. I think it's only recently that I'm getting used to playing that slow, and kind of sort of approximating Jake's laid-back, behind the beat kinda thing. Even since the recordings that we put out, I think I've settled into that a bit more. Jake: I had this obsession with the band Surface to Air Missive, and he's an insane musician. The songs are really wacky, and he plays drums really light, but with a lot of energy. The early Bullseye demos, I'm playing drums, and I'm not playing very hard. It's songs with a lot of hits, but everything's pretty gentle. And then when \[Humberto\] joined, I feel like that, that melded with a heavier sort of Teenage Fanclub, quarter-note ride thing that I wanted to be there, and you locked the fuck in on that. Humberto: That's what I do in my sleep now. Jake: Nice slow, spacious beats. Humberto: It’s just Teenage Fanclub...in bed. **Another place where you play with variation is with the various recorded versions that some songs have. Like how “Kid” on the tour tape is much softer than “Kid” on the 12”. Do these changes come about naturally?** Oliver: Well, “Kid,” I think we play differently every show. I think it even used to be a little faster sometimes. And then, sometimes I try to give it this country thing. And sometimes...I don’t know how to explain it. Humberto: Sometimes Oliver, before a show, will go up to me and be like, “Play even slower this time.” ![Bullseye, photo by Gabi Green](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/08/Bullseye-GABIGREEN-.jpeg) Bullseye, photo by Gabi Green **How did this most recent EP come together? Some of the songs I hadn’t heard before, some I had. And it’s a 45 RPM 12", which not many people do!** Jake: Well, we recorded it all with a friend, Andrea Schiavelli, last summer. It was really hot at his studio in Maspeth. Then Oliver and I were mixing those recordings for a while, and I was sending them to people. I got in touch with Josh at ever/never, and it was his idea to pare down the 12 recordings into something shorter for vinyl and do a higher-fi setup with the 45 RPM 12". And then it kinda expanded from there, where the 12" has six songs. Online you can get eight. And if you want a CD, you can get 12 full songs, for the real heads. And those were just songs we've been playing live. A lot of them were recorded already, but we re-recorded them all in one session. Humberto: Speaking of the different versions, we did two versions of “Dangers of the Heart.” I think that’s a good example of how that changed, because the early version, the one that Jake recorded, was pretty fast, and we jammed a version where it was a lot slower. We recorded both, and wound up going with the slower one. **Going backwards, how do the songs get written? Like, where does it start with Jake and when does the rest of the band come in?** Jake: The really early stuff, I demoed them myself, so there were pretty much parts for everything. Then there’s quite a few later songs where I’d write lyrics and melody and chords, but then had Humberto and Oliver and Clara come up with their own parts. Like “Dangers of the Heart,” the songs can take a different shape once we start playing them. I've put some solo music out recently, and we’ve taken some of those songs too. One of them in particular changed pretty significantly to fit a band. It feels really gratifying to trust the crew to adapt the bones of a song. **Oliver, how does that work for you when Jake goes. “Here’s a song, now play?”** Oliver: I just follow what he’s doing. And then sometimes he tells me to play a guitar solo. Or “be obnoxious.” I feel like there’s a song or two where I'm obnoxious. Jake: But you've added some pretty significant parts that have, solo or otherwise, formed the shape of the song. Oliver: Yeah, I’ve helped. **Are there any key influences as a band that you look to other than Guided by Voices and Teenage Fanclub?** Oliver: Not to sound cool... Jake: Go for it. Oliver: But I’ve never really listened to Guided by Voices or Teenage Fanclub. A guy came up to me at our Toronto show last month and was like, “You guys are like Teenage Fanclub.” I was like, “I don’t know what that sounds like.” Jake: I think it’s good you don’t know their music. Oliver: Yeah. I'm sure I'd like it, but if I knew we sounded like it...it's good to not listen to stuff that you sound like. And I listen to a lot of music that I don't like so I can figure out why I don't like it. And to also figure out if there's anything good in it, and sometimes there is. Humberto: Like what? Oliver: Uh, like radio rock from the early 2000s. Some of it’s bad. There’s this band Toad the Wet Sprocket that I think is really bad, but they have some really gray melodies where it’s like, happy and sad. I think that’s cool. Humberto: This is one of my favorite Oliver lessons. We were playing with a band on tour once, and they were a really cool-sounding band. Like they had outfits on, you know? And they sounded like it. After the show Oliver was like, “They haven't spent enough time listening to, like, REO Speedwagon.” They've been listening to all the pre-approved cool bands, and you could tell in their music. For a band to sound developed, they have to have some really corny influences in there. I remember that being big for me. Oliver: They have to listen to “Bad to the Bone” or something. Which is a great song; it’s everything a song needs to be. The kids need to listen to stuff like that because the bands that they were influenced by had to listen to that stuff. **Do you have any more tour stories?** Humberto: I mean, the van broke down last tour. Jake: The van always breaks down. Shoutout to my uncle, John Winter, who lent us his car at a very crucial moment outside of Madison, Wisconsin. I had to get rid of my car. I sold it. It’s now... I don’t know. I wonder what shape it’s in. It might be taken apart at this point. I drove that thing as far as we could and abandoned it in Madison. We played a really lovely show in Kansas City and in St. Louis and Cincinnati. That string was probably my favorite of the last tour, I would say. Humberto: I mean, Chicago’s always fun. We played at Planet Java. Oliver: Stayed at Planet Java. It was a great show filled with legendary Chicago musicians like [National Photo Committee](https://see-saw.fun/national-photo-committee-want-to-do-this-interview-right-now/). **And you’re both on ever/never, which makes a lot of sense. How do you feel about the broad community of bands you’re a part of in New York City and elsewhere?** Oliver: There’s a lot of bands. I think that, and I need to learn from this myself, people should be in less bands and there should be less bands. You know, just because you're a punk band and you wanna write a soft song doesn’t mean you need to start a new band for it. Jake: Mm, interesting. Humberto: I'll agree with you. Oliver: So take that, New York scene. But the scene’s great. I love New York—there’s endless bands and endless fans. Jake: I feel like there’s more and more rock bands sort of like us that are all over the country. And so a lot of it in New York has been touring bands coming through who are like-minded. [Bread and Roses](https://see-saw.fun/nycs-bread-roses-fest-was-a-diy-utopia/) was a big moment for all that. Humberto: I feel more part of a scene with bands around the country than bands in New York. But it might also be that there aren’t that many bands my age. I’m 10 years younger than the rest of Bullseye. These guys are fossils to me. So I just feel more kinship with Answering Machines and some of the Midwest bands. And obviously a handful of the bands here like Debris Bardot. And Chronophage, of course. Chronophage was like my inroads to music. **Well, same!** Humberto: That’s how we met! I met Sydney...when was it? Almost four years ago now. **Yeah, I had just moved here.** Humberto: We were the two loners at the Chronophage show. I remember kind of bothering Donna after that, and then I played congas with Chronophage. That was the first show that I played in New York. I played the bottles with her more recently. I have a long lineage of playing weird percussion with Donna. ![Bullseye, photo by Braeden Long](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/08/bullseye-copy.jpg) Bullseye, photo by Braeden Long **Anything else you wanna plug something?** Jake: Oliver, “[A Verse in the Weight](https://www.youtube.com/watch?v=urAAEI4421k&ref=see-saw.fun)” on YouTube. Oliver: It’s the best song ever played. It’s my only song ever played. **You only have one?** Oliver: All right, well... that’s a good one. If I were to only have one song, it would be that one. --- *see/saw is a reader-supported publication. If you enjoyed this piece, please share it and* [*subscribe to see/saw*](https://see-saw.fun/nycs-bread-roses-fest-was-a-diy-utopia/#/portal/)*.* ### punk this week podcast: sweeping promises + xray xeroxx URL: https://see-saw.fun/punk-this-week-podcast-sweeping-promises-xray-xeroxx/ Last updated: 2026-08-19T04:42:17.000Z [Punk This Week](https://see-saw.fun/tag/podcast/) *is see/saw’s weekly podcast from co-hosts Evan Minsker and Nina Corcoran—a discussion of the latest and greatest in the world of punk rock. We talk about six new punk records we’re loving from the past week.* If you leave us a five-star review on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), we will talk about a snack of your choosing. Choose your fighter. Nina tries an apple soda that goes full Jolly Rancher, then offers a report from the Fiddlehead and American Football shows (on the same night, of course). We discuss new records by [Sweeping Promises](https://sweepingpromises.bandcamp.com/album/you-say-i-romanticize?ref=see-saw.fun), [xray xeroxx](https://xrayxeroxx.bandcamp.com/album/brainwashing-the-populace?ref=see-saw.fun), [the Shooters](https://popularaffliction.bandcamp.com/album/demo-3?ref=see-saw.fun), [PANG](https://pangrealrock.bandcamp.com/album/arrest-me?ref=see-saw.fun), [Navaja](https://ragdollrecords.bandcamp.com/album/ensayo?ref=see-saw.fun), and [Terror Management Band](https://terrormanagementband.bandcamp.com/album/claustrophenia-2?ref=see-saw.fun). We must shout out the new records by [Evil Island](https://evilisland.bandcamp.com/album/terraform-the-afterlife?ref=see-saw.fun), [TTNG](https://thistownneedsguns.bandcamp.com/album/juggling-moves-beginner?ref=see-saw.fun), [Credit Card](https://xxxcreditcardxxx.bandcamp.com/album/devils-night-dead-internet?ref=see-saw.fun), [Calice](https://swimmingfaithrecords.bandcamp.com/album/calice?ref=see-saw.fun), and [Headcheese](https://slow-death-records.bandcamp.com/track/dump-run?ref=see-saw.fun). Make sure to read [Rocco’s interview with Credit Card](https://see-saw.fun/credit-card-are-the-hardest-band-in-detroit-to-photograph/) on see/saw. Ad-free and bonus episodes are available only to paid [see/saw subscribers](https://see-saw.fun/punk-this-week-podcast-useless-eaters-kariah/#/portal/)with the link at the bottom of this page! If you like this podcast, please subscribe + tell your friends! --- *Punk This Week* is a [Ruinous Media](https://www.ruinousmedia.com/?ref=see-saw.fun) podcast; thanks to Ruinous for their support. Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.funhttps://feeds.captivate.fm/punk-this-week/). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/see%5Fsaw.fun/?ref=see-saw.fun) and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). Have a question you’d like to hear addressed on the show? Want to talk about a new record we didn’t discuss? Want to send a HARD PIVOT bumper? Join us on the see/saw [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun) or email us: [see-saw@see-saw.fun](mailto:see-saw@see-saw.fun). *Punk This Week* is made possible first and foremost by see/saw subscribers. Please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-useless-eaters-kariah/#/portal/) if you enjoy this podcast. You’ll get ad-free and bonus episodes, plus the weekly [Punk This Week column](https://see-saw.fun/tag/punk-this-week/) and the [see/saw radio](https://see-saw.fun/see-saw-radio/) archive! _This post is for paying subscribers only._ ### punk this week: sweeping promises, navaja, credit card + 15 more URL: https://see-saw.fun/punk-this-week-sweeping-promises-navaja-credit-card-15-more/ Last updated: 2026-08-15T03:29:46.000Z Hey, it’s [Punk This Week](https://see-saw.fun/tag/punk-this-week/), see/saw’s punk and rock'n'roll recommendations column. The new [Sweeping Promises](https://see-saw.fun/see-saw-jukebox-sweeping-promises/) album has arrived this week, and so has the debut from [Credit Card](https://see-saw.fun/credit-card-are-the-hardest-band-in-detroit-to-photograph/). Add to those some absolutely essential new records by Navaja, Headcheese, the Shooters, and Calice for an unbelievable week of new records. These weekly columns hit every paid subscriber’s inbox in their entirety; that’s $4/month or $40/year or [barter](https://see-saw.fun/bartering/) (NOTAFLOF). Subscribers also get the monthly bonus podcast [*see/saw jukebox*](https://see-saw.fun/tag/jukebox/) and the [see/saw radio](https://see-saw.fun/see-saw-radio/) archive. see/saw is a love letter to punk music and artists. Every week, these columns attempt to scratch the surface of what’s most exciting in this world right now, but as enthusiastic as I can get with these long columns, there’s so many other places out there that are covering the best stuff—magazines, blogs, radio shows, podcasts, zines, etc. It’s actively a gnarly era for punk writing and punk labor, and as platforms continue to disappear, it’s clear that all we can do is lift each other up. If you’ve got the means, consider spending a little money on somebody’s passion project. It doesn’t have to be mine. Have a nice weekend. --- **Sweeping Promises:** [***You Say I Romanticize***](https://sweepingpromises.bandcamp.com/album/you-say-i-romanticize?ref=see-saw.fun) **\[Sub Pop\]** Lira Mondal and Caufield Schnug literally live in the studio, and as meticulous and self-described songwriting and recording obsessives, they [described that dynamic](https://see-saw.fun/see-saw-jukebox-sweeping-promises/) as “adversarial.” Unfortunately for the Lawrence duo, that hard work has paid off immensely. Their excellent 2023 album *Good Living Is Coming for You* showcased their hook-writing chops and Mondal’s out of this world vocals, but their follow-up *You Say I Romanticize* takes their already significant abilities to the next level. Schnug’s guitar hooks are stickier, their songwriting sharper, the hits harder. Mondal comes in with so much bite on “Shooting Shadows,” though she doesn’t spend the entire album snarling. It’s always been true of Sweeping Promises—plus their prior bands Mini Dresses, Silkies, and Dee-Parts—that Mondal is an unbelievable vocalist. She’s classically trained, harmonizing like a star choir student and belting like an athlete throwing her entire body into the follow-through. She’s earned all those comparisons to the B-52’s; she’s got those brain massaging harmonies bursting from these songs where every ounce of melodic vibrance and punk rock punch has been considered down to the last detail. “Write Lightly” is where the album gets its title—a song about the agonies of writing, measuring your expression against your actual life, and the notion that anybody’s thinking nearly this critically about the work. As the album closes, Mondal’s voice seems to drift above the track like voices in her own head. “You say I romanticize” is a bar from an exceptional punk song about overthinking it, and by all accounts, this album is the result of extensive consideration. Where some artists work best by working fast, these two clearly thrive when they’re neck deep in the details. *Very* clearly. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/08/a3852805486_10.jpg)](https://sweepingpromises.bandcamp.com/album/you-say-i-romanticize?ref=see-saw.fun) --- _This post is for paying subscribers only._ ### credit card are the hardest band in detroit to photograph URL: https://see-saw.fun/credit-card-are-the-hardest-band-in-detroit-to-photograph/ Last updated: 2026-08-12T22:19:07.000Z It was a little after 8 p.m. on April 28 at Outer Limits; I helped [Credit Card](https://xxxcreditcardxxx.bandcamp.com/album/cc-7?ref=see-saw.fun) load in. They opened for the wildly entertaining Seattle group [Telehealth](https://telehealth.bandcamp.com/?ref=see-saw.fun) (along with the awesome fellow Detroiters [Dori](https://doridetroit.bandcamp.com/?ref=see-saw.fun)). It was one of my favorite shows of the year. Out front, Shaun (vocals) excitedly pulled one pant leg up a few inches to show Lu (drums) and I his sick new shoes. “Have you ever seen Vans like this before?” he asked, revealing he got them for five dollars at a shop in New York. When he wondered why they have a Marvel logo on them, my suspicion was confirmed: They were the [Black Panther Vans](https://images.novelship.com/product/1596262633788%5FMarvelxVan0.jpg?fit=fill&bg=FFFFFF&trim=color&auto=format,compress&q=75&ref=see-saw.fun). A few moments later, Shaun and Max (synthesizer, guitar, sample tracks, live light cues) discussed the amount of “juice” in the fog machine, which they bring to all their shows along with their own lights. I once heard people at a show talking about how odd they thought this practice was, and while it’s hard to blame them, I assume any and all fog machine confusion dissipates the moment the band launches into one of their reliably hypnotic sets. Well before they announced their album/mixtape [*Devil’s Night / Dead Internet*](https://xxxcreditcardxxx.bandcamp.com/album/devils-night-dead-internet?ref=see-saw.fun),Credit Card were a band I’d made every effort to see for the year and a half they’d been performing. A red glow filled the room, occasionally obliterated by ethereal strobes. Lu’s pounding drums blended with Max’s synths and pre-sampled percussion tracks. Shaun screamed over it all, equal parts entertainer and street corner doomsayer. As usual, the experience compelled me to stay up front—dancing, pushing, and getting pushed back. It also made me wish I did drugs, like when I first found Jeff Milner’s [backmasking page](https://jeffmilner.com/backmasking/?ref=see-saw.fun) as a middle schooler. A few songs in, secret auxiliary pseudo-member Nadine emerged from the crowd, grabbed a second mic, and joined Shaun for fun and furious back-and-forth. Shaun produced a set of sticks and drummed on a dented aluminum trash can before ditching the sticks and wearing the can on his head (the reverse Oscar), while Nadine pushed him around. It was my fifth or sixth time seeing them and it felt like my first. After their set, we got their gear to the van and met out back in the cozy Outer Limits smoking patio. As the interview began, photographer Doug Coombe bestowed Credit Card with the newly-created Most Impossible to Photograph Band Award. They were all too happy to accept. --- Shaun: That’s good. It means we had enough fog. Lu: And also…we don’t care. We’ve never tried to be at the forefront of it, physically. It’s always been kind of an anonymous thing. It’s just for the music and the dancing. Shaun: The original idea was to be completely anonymous. Max: We tried to not have an Instagram. Shaun: Yeah, we *tried* that. \[*laughs*\] Max: It was really awesome until there was another band called Credit Card. Shaun: And they were some bros. Max: People would go to our shows, take videos on Instagram, and then tag *them*. Shaun: And they were young, but one photo had a guy wearing a shirt that said “I love boobies,” and it was like, “Dude, no! This has to stop. We have to make an Instagram.” Max: It’s impossible to exist outside of that fucking system. Lu: It’s sad. Because we used to go to a million shows before this and it didn’t matter how many followers or likes you had. Sometimes I feel like people go to shows just because they have followers and you get to the show and you’re like, “Oh.” Shaun: And hype is the worst killer, because you’re already set up for disappointment. If it’s so hyped up and you go and it’s pretty good, then it’s not living up to your expectations. **That’s your secret weapon, though. Being the opener and making every band have to follow you after *that* is pretty awesome.** Lu: But who wants to be that self-absorbed? Doug: Oh, some people do. \[*everyone laughs*\] Lu: Or what if you get your feelings hurt ‘cause no one likes your shit? I don’t know, isn’t that silly? I just hate it. I can’t do it. Shaun: When we first started, me and Max and our friend Sam were like, “let’s jam,” just to do something for fun with no expectations. We recorded a bunch of shit on a 4-track and there were two tracks that ended up being really cool, and they were like this synth, punk sound. And we were like, “yeah, let’s just go with that.” ![Credit Card at Outer Limits Lounge in Hamtramck on April 28, photos by Doug Coombe](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/08/Live-Credit-Card-Outer-Limits-April-28-2026-by-Doug-Coombe-7.jpg) Credit Card at Outer Limits Lounge in Hamtramck on April 28, photos by Doug Coombe **Is the techno-punk hybrid specifically a Detroit thing or is that what you guys just ended up doing organically?** Shaun: It was pretty organic. I think it’s pretty unavoidable, because you’re influenced by what surrounds you. I played in another band that was similar when I was in Oakland. I got exposed to EBM and hard industrial stuff and really liked it. So when we did that jam session, I was like, “Bring your synthesizer. Does it do the thing that goes *dun dun dun dun dun.*” \[*laughs*\] “Do that!” **Between the name Credit Card and the song title that’s also your Instagram bio, “This is a debt you can never repay,” I feel like there’s a philosophy behind the band where—not to be too much of a college kid about it—the debt isn’t all monetary, but also the debt of living in society.** Shaun: We kind of leaned into that, but I had this list of band names \[*laughs*\]. My original idea was Emancipate Yourself From Mental Slavery, and I really liked that one. Then I thought we should be called Commit Suicide \[*everyone laughs*\]. And I had all these ridiculous band names and the last one was Credit Card and I think I was drunk when I wrote that, but it’s the funniest name, it’s so fitting. Lu: And I think that’s a great way of looking at it, but art is meant to be interpreted by everyone, so if you give it away, then… Shaun: If you want to have the most bleak, brutal, metal name, then actually Credit Card is the most evil thing you can think of \[*everyone laughs*\]. Lu: Totally. **Somehow more evil than Commit Suicide.** Shaun: It is! Everyone has debt and you’ll never repay it. Always be in debt. Doug: I think you should call your most evil record *29.9% APR* \[*everyone laughs*\]. ![Credit Card at Outer Limits Lounge in Hamtramck on April 28, photos by Doug Coombe](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/08/Live-Credit-Card-Outer-Limits-April-28-2026-by-Doug-Coombe-14.jpg) Credit Card at Outer Limits Lounge in Hamtramck on April 28, photos by Doug Coombe **You guys bring your own fog machine and lights, which initially sort of takes people out of their comfort zones and makes it feel more like a big show.** Shaun: When we were starting the band, we were a bit bored of music and wanted to do something fun and cool. We had a bunch of different ideas that didn’t stick like, “Should we wear masks? Should we do this or that?” I just wanted to do something where, if I saw a band, I’d be like, “Woah, that’s sick.” If it’s something that you would like, then other people would probably like it. Lu: And it makes it an experience, and performance art, and it’s more than just about the music itself. All of your senses are involved. Max: It’s just really fun dancing in a strobe light with a fog machine on. \[*laughs*\] I’ve felt that way since I was a teenager. Lu: And making things dark makes people more comfortable to let loose. That’s really the goal. **This is the only band I feel any obligation to be in the front for, and I think that’s all part of it. It’s the music too, but obviously there’s some reason for it, because I've only really moshed like twice in my life. I just don’t feel compelled to do it.** Shaun: The more shows you’ve seen, it becomes just like anything else, like going to work. You have to connect with a reason why you like the music. You want to have fun and have a human experience. ![Credit Card at Outer Limits Lounge in Hamtramck on April 28, photos by Doug Coombe](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/08/Live-Credit-Card-Outer-Limits-April-28-2026-by-Doug-Coombe-18.jpg) Credit Card at Outer Limits Lounge in Hamtramck on April 28, photos by Doug Coombe **It’s annoying when bands try to make you do something—with the only exception being telling everyone to move up since no one really does unless you tell them to. To have it naturally happen is another thing that’s great about Credit Card.** Max: It’s so funny sometimes when they’re like, “Move up!” And then no one moves. But usually people do. Shaun: That’s the most embarrassing thing. I always thought it was funny when the singer is like ordering you like, “Come on motherfucker! Get up here! Split the crowd! When this breakdown hits, you’re gonna mosh really *fuckin’* hard, motherfucker!” People like being told what to do \[*laughs*\]. Max: They do. It’s an experience, you know? Shaun: Yeah, I gotta give it to ‘em. I don’t wanna be a hater, I don’t know. If any young people are having fun, that’s awesome. But they all do this specific two-step dance. **Crowd-killing constantly.** Max: They love it. Shaun: It is kind of like a specific set of criteria that you’re supposed to fit into at the show. Lu: Yeah. Shaun: I don’t know. If that makes people have fun at a show, it’s better than people just standing around I guess. --- After the interview, I ran into Nadine and asked one question about her involvement in the show. **Every time I see this band, you just fly out of the crowd. Is that exciting? It’s so different from a normal gig.** Nadine: It’s super exciting. It’s actually very nice to be part of something but not have any, you know… I don’t have any creative say, I’m just joining in. Shaun asked me if I wanna scream on one of the songs because he saw my band, and I’m like, “Sure.“ So now it’s kind of like, “OK, I’m just gonna go scream for three minutes and then I’m done.” It’s not really like I’m in the band. They don’t expect anything from me \[*laughing*\]. It’s kind of great! --- On May 29, I walked into the Sanctuary in Hamtramck for a Lip Critic show where Credit Card were opening. I quickly learned that Max is a father-to-be, there’s a record coming, there’s a tour planned, and there are multiple personnel changes. During that show, for example, Hailey—a musician and Credit Card fan—was on guest vocals, rather than Nadine. I worried that all the new developments would render the first interview unusable. A few days later, I reconnected with Shaun over the phone. **When we talked before, I don’t think the album was announced.** Shaun: \[*laughs*\] Yeah, and it still hasn’t really been announced. It won’t be digitally released until August 14. **I think a big part of why I like the record so much is that it puts me in the headspace that the live show does. I’d be very curious to see what someone who hasn’t seen the live show thinks about the record.** Shaun: Yeah, the record’s still a bit different than the live show. It has pretty much all the songs that we play live, but it has some more experimental stuff on it. **Yeah, there’s some interstitial stuff.** Shaun: Yeah. And a few songs with singing \[*laughs*\]. **And a phone sound on one of them.** Shaun: It’s a dial-up sound, which just got retired this year; RIP dial-up internet. **Is Nadine not going to do the guest singing thing anymore and Hailey’s gonna do it now? At the last show, you told me you might do a cycle of rotating members.** Shaun: Yeah, so the band is me and Max. We write it and record it. Lumen is our drummer. But, for example, at the release show Lumen’s not going to be there, so our other friend Sam is gonna fill in. And then Nadine’s been awesome and performed with us a lot of times, but she also [has her own band](https://www.instagram.com/d%5Fe.n%5Fo/?ref=see-saw.fun), and I know they’re playing on the day of the release show, so she can’t do it. That was Hailey’s first show with us at Sanctuary, and it’s been awesome and we get along. And we’re all friends. My ex-girlfriend—who I used to be in a band with—has done it too, so it’s been a mix of whoever is available. And Max is about to have a baby, so the release show \[which took place in June\] is his last show for a while. We wanted it to be like our *project*, not necessarily a band. We make all the decisions together and everything, so we’re coming out with the album, we definitely want to play a release show together, but after that we’ve gotta tour the album. Otherwise what's the point of releasing it? If you don’t tour it no one will hear about it. So I was like, “Me and Lumen still wanna do the tour,” and we had played one show without him when he was sick or something, and it went fine. Hailey’s gonna be filling in for him on the whole tour, doing the synth, guitar, and that one song at the end. And she’s a great musician too. ![Credit Card at Outer Limits Lounge in Hamtramck on April 28, photos by Doug Coombe](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/08/Credit-Card-Outer-Limits-April-28-2026-by-Doug-Coombe-14.jpg) Credit Card at Outer Limits Lounge in Hamtramck on April 28, photos by Doug Coombe **I think it’s interesting that the title of the record *Devil’s Night / Dead Internet* is a two-parter.** Shaun: Devil’s Night is a Detroit thing where. Over the years, people were starting fires, causing mischief, so it’s kind of like an ode to Detroit. I love referencing stuff because, in my mind, there’s no such thing as being original, everything’s already been done before. I like to lean into that a little bit and just obviously copy stuff. Some of our lyrics, too, I’ve directly copied from other songs. Rappers do it; I don’t know why rock doesn’t do it as much. There’s that difference between copying someone, or doing an homage to someone, or a reference. I’ve always liked that about pop culture, how it’s self-referential and kind of a spiral that ends up eating itself. Originally we talked about releasing this album as two EPs, and that’s why there are two titles. So now it’s *Devil’s Night* and *Dead Internet* and we decided to put them on the same record. I think you could listen to one side or the other first and it wouldn’t really matter. The *Dead Internet* side is the one with the dial-up sound. I’m older than a lot of people in the music scene here and I remember the way the internet was and how it is now, and the [Dead Internet Theory](https://en.wikipedia.org/wiki/Dead%5FInternet%5Ftheory?ref=see-saw.fun), if you’re familiar with that. **I am, yeah** Shaun: We were talking about album rollout, release cycle, digital marketing, Spotify numbers, all that type of shit. And then I hear, like, of the top 100 artists right now 30 of them are AI and the listeners are also 80% bots \[*laughs*\]. And it’s like, this shit sucks. It kind of goes along with the whole vibe of Credit Card. We’re not careerist at all. I don’t think we’re really trying to sell something. If you look at the title of our first single, “This is a debt you can never repay” and the name Credit Card, it’s just talking about capitalism and money and how everything is just “sell sell sell” now. … I wish I had a really good one liner to say at the end. --- *see/saw is a reader-supported publication. If you enjoyed this article, please share and* [*subscribe*](https://see-saw.fun/todays-milk-are-still-looking-for-tomorrows-sound/#/portal/)*.* ### punk this week podcast: useless eaters + kariah URL: https://see-saw.fun/punk-this-week-podcast-useless-eaters-kariah/ Last updated: 2026-08-12T02:11:12.000Z [Punk This Week](https://see-saw.fun/tag/podcast/) *is see/saw’s weekly podcast from co-hosts Evan Minsker and Nina Corcoran—a discussion of the latest and greatest in the world of punk rock. We talk about six new punk records we’re loving from the past week.* After a deeply wholesome vacation and a trip to see the Gories, Evan hears about a D&D bar with vegan food, Green River, Suuns on the aux, and Malort ice cream. We shout out some favorites from our week off by Society, Mopar Stars, Sistema de Entretenimiento, and Mallory Hawk. We wax poetic about [Useless Eaters](https://halo-fx.bandcamp.com/album/music-for-clout?ref=see-saw.fun), [Kariah](https://kariahband.bandcamp.com/album/burning-the-canvas?ref=see-saw.fun), [Daddy’s Boy](https://drunkensailorrecords.bandcamp.com/track/grievance-process?ref=see-saw.fun), [Anti-Spectacular](https://anti-spectacular.bandcamp.com/album/i-am-this-flesh?ref=see-saw.fun), [pennines](https://ninepens.bandcamp.com/album/recordings-2008-09?ref=see-saw.fun), and [JUG](https://neontasterecords.bandcamp.com/album/head?ref=see-saw.fun). [Shout out Quinn Moreland’s *Riverdale* recap](https://www.vulture.com/article/best-riverdale-episodes-craziest-moments.html?ref=see-saw.fun). Ad-free and bonus episodes are available only to paid [see/saw subscribers](https://see-saw.fun/punk-this-week-podcast-cry-cyclops-cold-comfort/#/portal/)with the link at the bottom of this page! If you like this podcast, please subscribe and leave a review on your podcatcher + please tell your friends! --- *Punk This Week* is a [Ruinous Media](https://www.ruinousmedia.com/?ref=see-saw.fun) podcast; thanks to Ruinous for their support. Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.funhttps://feeds.captivate.fm/punk-this-week/). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/see%5Fsaw.fun/?ref=see-saw.fun) and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). Have a question you’d like to hear addressed on the show? Want to talk about a new record we didn’t discuss? Want to send a HARD PIVOT bumper? Join us on the see/saw [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun) or email us: [see-saw@see-saw.fun](mailto:see-saw@see-saw.fun). *Punk This Week* is made possible first and foremost by see/saw subscribers. Please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-cry-cyclops-cold-comfort/#/portal/) if you enjoy this podcast. You’ll get ad-free and bonus episodes, plus the weekly [Punk This Week column](https://see-saw.fun/tag/punk-this-week/) and the [see/saw radio](https://see-saw.fun/see-saw-radio/) archive! _This post is for paying subscribers only._ ### punk this week: useless eaters, team work, daddy’s boy + 15 more URL: https://see-saw.fun/punk-this-week-useless-eaters-team-work-daddys-boy-15-more/ Last updated: 2026-08-11T13:50:41.000Z Hey, it’s [Punk This Week](https://see-saw.fun/tag/punk-this-week/). Useless Eaters’ exceptional new album has landed. The unstoppable Chicago band Daddy’s Boy return with their first one in four years. Gary Wrong and Why Bother? are back. Team Work (SPLLIT and Maradeur) debuts. Two members of Fucked Up start a band with Bobby from Total Con. It’s all that and a bunch more records from all over the world to get very stoked about. If you want to hear about the best stuff in the world of underground punk via an email delivered to your inbox every week, you’ve got to [get behind the paywall](https://see-saw.fun/punk-this-week-twisted-teens-the-carp-16-more/#/portal/). It’s $4/month, $40/year, or barter; there’s a two-week free trial. [Paid subscribers](https://see-saw.fun/punk-this-week-twisted-teens-the-carp-16-more/#/portal/) get the bonus interview podcast *see/saw jukebox*, the see/saw radio archive, and weekly columns. see/saw is a reader-supported publication, which means everything you see on these pages is funded by reader subscriptions. There’s no publisher or investors, just a former career music journalist with a day job and a lot of enthusiasm for the good stuff. [Subscribe](https://see-saw.fun/punk-this-week-twisted-teens-the-carp-16-more/#/portal/), read up, and take care. --- **Useless Eaters:** [***Music for Clout***](https://totalpunkrecords.bandcamp.com/album/music-for-clout?ref=see-saw.fun) **\[Total Punk\]** The new Useless Eaters album is a caustic, blistering treatise on the wrong reasons to make art. Seth Sutton is the only person I want on this pulpit. From the project’s first 7” drops in the late ’00s to a recent resurgent hot streak over the past year, you see this art practice that’s shifted organically with time and age and experience, but this band has always been steadfastly DIY. There was never an attempt for algorithm-busting playlist placements, bigger stages, or any kind of vision-compromising money play. We were never going to find Seth in the gutter rock-to-landlord pipeline. So when he’s calling out motherfuckers across the greater scene for the pose they’re trying on, every clout chaser should consider him their final boss. A line in the sand is drawn—is it expression or hustle? Sometimes at the punk house show, masks come off and we all see who’s really under there. This is bludgeoning, fuzz-soaked punk music for dancing all night at the warehouse spot. There are individual highlights: “Contrast” and “Ego Shell” and “Cochon Sauvage” are all-timers in a catalog with plenty of those. But this is a record that should be blasted loud all the way through. The samples of Southern Black voices, the dense bass-heavy palette he’s working from, the throb of dance music beneath this jagged sound—it’s the sound of Memphis and Oakland and Berlin. It’s a full circle, and honestly, it’s Seth’s masterpiece. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/08/a1862379942_10.jpg)](https://totalpunkrecords.bandcamp.com/album/music-for-clout?ref=see-saw.fun) --- _This post is for paying subscribers only._ ### going feral for the gories in detroit URL: https://see-saw.fun/going-feral-for-the-gories-in-detroit/ Last updated: 2026-08-06T14:53:58.000Z As a young adult, “that was a religious experience” was my go-to hyperbolic phrase about shows. It was an easy way to describe feeling overtaken and overwhelmed. It doesn’t really sound like something I’d say anymore. I’ve been to several punk shows in the past three years where I danced confidently on some carpe diem shit. I’ve walked to my car absolutely drenched in sweat and smiling like I’d just been handed three million dollars cash. None of those were “religious experiences;” just unforgettable nights. Maybe I’ve just become more critical about the live show experience, or maybe giving religion ownership over euphoria was baldly disingenuous in the first place. Walking through the rain to my car behind Detroit’s Paris Bar on August 1, I was drenched in sweat, smiling like a maniac, and vibrating from adrenaline. For the first time in my life, I had witnessed the Gories. That teenaged go-to superlative swam around my head once again. Thing is, the lord never made me wonder if I was going to swoon and drop to the floor from sheer sweaty enthusiasm. That’s a distinction held by Mick Collins, Danny Kroha, and Peggy O’Neill. ![Mick Collins performs with the Gories at Detroit’s Paris Bar on July 31, photos by Doug Coombe](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/08/The-Gories-Paris-Bar-Detroit-July-31-2026-by-Doug-Coombe-38.jpg) Mick Collins performs with the Gories at Detroit’s Paris Bar on July 31, photos by [Doug Coombe](https://www.dougcoombe.com/?ref=see-saw.fun) Prior to Saturday, Gories were the loadbearing band on my bucket list. Every person who has ever told me about seeing them has watched me quietly deflate with jealousy, so when the band announced a weekend of hometown shows, I got a ticket without even knowing if I’d be able to go for sure. (I want to thank my family for wanting to hang out in Michigan this week.) ![Peggy O’Neill and Danny Kroha perform with the Gories at Detroit’s Paris Bar on July 31, photos by Doug Coombe](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/08/The-Gories-Paris-Bar-Detroit-July-31-2026-by-Doug-Coombe-37.jpg) Peggy O’Neill and Danny Kroha perform with the Gories at Detroit’s Paris Bar on July 31, photos by [Doug Coombe](https://www.dougcoombe.com/?ref=see-saw.fun) You ever walk into a cinderblock Detroit bar where budget rock is blasting on good speakers? It’s a good feeling. Hey, there’s Kyle from 208, Beej from TY, and Danny Kroha slinging merch. Three-quarters of Wesley and the Boys unwittingly greet me at the door; they made a road trip here specifically for this show. Saying what’s up to Shelley Salant was when it was confirmed: pretty much every great contemporary Detroit rock band was accounted for in the crowd. There were hot dogs being sold out back. I love Detroit so much. Paris Bar was the perfect room for a gleefully loud and evil 208 set. Kyle, adorned in his uniform of “bare feet,” did that shit where he hit everyone in the room with a tractor beam stare while playing punishingly loud fuzz guitar. They played new stuff that sounded exceptional, and there was an infectious giddiness in their every move. “Let me hear ya say YEAH,” Kyle screamed, followed by about six more “YEAH”s. Shelby’s usually steely demeanor fell entirely apart during a sloppy and giggly Antonio-assisted cover of “Wild Thing.” This was my second time seeing TY, which is an unbelievable treat if you get the chance. They’re an unbelievably tight band, in near-constant motion, and funny as hell. “Ride My Bike” ran nonstop into “Get Knocked Down,” they did “Nematode,” they covered Jimi Hendrix, Coneheads, and CCR. They’re a shit-eating grin incarnate. (I don’t think I’m only gushing because they shouted me out on mic at one of the best shows I’ve ever seen, but I do love the sound of my own name, that’s just neuroscience.) At a show like this—in a tight room or bellied up to the bar or outside shoulder-to-shoulder with the smokers—everybody’s palpably buzzing on the same frequency. Those two opening sets would’ve ruled on their own merits, but they also contributed to that shared excitement. We were all here to see the Gories, including the six smiling maniacs who’d just taken the stage. The best part about the Gories playing at a bar owned by John Szymanski (of the Hentchmen) and surrounded by friends is how easy the band seemed up there. As [Martin Douglas really beautifully put it in his must-read Trick Bag appraisal of the Gories](https://trickbag.substack.com/p/the-trick-bag-canon-the-gories), they were a punk band founded on meager expectations. The best punk bands just make shit and see where it goes without broad ambition. They’re still that band. Danny Kroha’s response to raucous applause was to poke fun at Kyle and Lars. When all the young Detroit punks by the stage demanded “whammy” from Mick Collins’ guitar, he replied, “Whammy bar? That’s what you wanted? That’s what you paid 46 bucks for??” I paid $40 because I thought I knew how powerful and overwhelming the Gories’ stomp would hit at a small bar. I didn’t know; I couldn’t have. Kroha performed with his entire body, trading between authoritative fuzz rhythm hooks and iconic leads with Collins. O’Neill, deadpan and thunderous, was fucking transfixing. What are you supposed to do when those garage, blues, and Bo Diddley beats land in your chest? You move your feet and shake your nonexistent ass on impulse even though everyone’s practically standing on top of each other. The Gories are a rhythm and blues band, and if the rhythm doesn’t do something to your equilibrium in a sweaty bar on their home turf, you’re either or a corpse or you’re stupid. Maybe you’re a stupid corpse. ![Peggy O’Neill performs with the Gories at Detroit’s Paris Bar on July 31, photos by Doug Coombe](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/08/The-Gories-Paris-Bar-Detroit-July-31-2026-by-Doug-Coombe-113.jpg) Peggy O’Neill performs with the Gories at Detroit’s Paris Bar on July 31, photos by [Doug Coombe](https://www.dougcoombe.com/?ref=see-saw.fun) They played “Feral,” and somewhere in the process of screaming and dancing, my eyes rolled back and I briefly wondered if I’d faint. (I didn’t. My poet mother-in-law wondered if I’d experienced [Stendhal syndrome](https://en.wikipedia.org/wiki/Stendhal%5Fsyndrome?ref=see-saw.fun).) There were a couple moments where Collins and Kroha and O’Neill faced each other in this power stance that’s probably been in their arsenal for the band’s entire 40 years. Collins’ amp started to act up, but nobody gave a fuck. Why would we? The guitar sound was dirty, the vibe was unparalleled, and when “Nitroglycerin” hit in the encore, all we could do was collectively lose it. The bar was filled with people I usually would’ve wanted to talk to about what had just occurred, but with a scrambled brain and little cartoon birdies floating around my head, instead I walked directly to my car for a fruitless attempt to process what had just happened. Nights like that don’t come around very often. Sometimes you’ve got to let them sit. ![Gories setlist from August 1 held by Lars; photo by Evan Minsker](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/08/goriessetlist.jpg) Gories setlist from August 1 held by Lars; photo by Evan Minsker --- *see/saw is a reader-supported publication. Please consider sharing and* [*subscribing to the newsletter*](https://see-saw.fun/#/portal/)*.* ### see/saw jukebox: sweeping promises URL: https://see-saw.fun/see-saw-jukebox-sweeping-promises/ Last updated: 2026-08-04T11:53:06.000Z [*see/saw jukebox*](https://see-saw.fun/tag/jukebox/)is a bonus podcast about perfect punk records from *Punk This Week* hosts Nina Corcoran and Evan Minsker. Each episode, we’re joined by special guests to curate perfect punk records for a mythical jukebox. This time around, we’re joined by [Sweeping Promises](https://linktr.ee/sweepingpromises?ref=see-saw.fun) prior to the release of their new album [*You Say I Romanticize*](https://sweepingpromises.bandcamp.com/album/you-say-i-romanticize?ref=see-saw.fun). Lira Mondal and Caufield Schnug discuss their Boston years, the ups and downs of literally living in the studio, their ambitious plans to record [*Good Living Is Coming for You*](https://sweepingpromises.bandcamp.com/album/good-living-is-coming-for-you-2?ref=see-saw.fun) in its entirety at an Airbnb in Marfa, plus some of their favorite punk albums of all time. Also mentioned: scrobbling, harmonizing with the radio, basement shows, learning to slap bass, and a teaser about their next project. This episode of *see/saw jukebox* is free! An ad-free version and every other episode of this bonus podcast is available only to see/saw’s paid subscribers; find that link at the bottom of this page. If you’d like to hear previous episodes with members of the Marked Men, Downtown Boys, Touché Amoré, Citric Dummies, DEVO, Optic Sink, MSPAINT, Eraser, King Tuff, and more, they’re all available exclusively to paid [see/saw subscribers](https://see-saw.fun/#/portal/) ($4/month or $40/year or [barter](https://see-saw.fun/bartering/) \+ there’s a two-week free trial)! --- **new to the see/saw jukebox:** - Mini Dresses: [*Mini Dresses*](https://minidresses.bandcamp.com/album/mini-dresses?ref=see-saw.fun) (2017) - Sweeping Promises: [*You Say I Romanticize*](https://sweepingpromises.bandcamp.com/album/you-say-i-romanticize?ref=see-saw.fun) (2026) - Fra Lippo Lippi: [*In Silence*](https://fralippolippi.bandcamp.com/album/in-silence?ref=see-saw.fun) (1981) - A Certain Ratio: [*acr:set*](https://acertainratio.bandcamp.com/album/acr-set?ref=see-saw.fun)(rel. 2018; rec. 1979-2018) --- Thanks [Yuasa-Exide](https://apesanctuary.bandcamp.com/?ref=see-saw.fun) for the use of our theme song “Spit” from the album [*Hyper at the Gates of Dawn*](https://apesanctuary.bandcamp.com/album/hyper-at-the-gates-of-dawn?ref=see-saw.fun). Thanks [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the show artwork. To see what else is in the jukebox so far, subscribe and check out previous episodes featuring [Dan Ozzi](https://see-saw.fun/see-saw-jukebox-01-dan-ozzi/), [Optic Sink’s Natalie Hoffmann](https://see-saw.fun/see-saw-jukebox-02-natalie-hoffmann-optic-sink-nots/), [Pigeon Pit](https://see-saw.fun/see-saw-jukebox-03-pigeon-pits-lomes-oleander/), [Citric Dummies](https://see-saw.fun/see-saw-jukebox-04-citric-dummies-drew-ailes/), [No Age’s Randy Randall](https://see-saw.fun/see-saw-jukebox-05-no-ages-randy-randall/), [Ekko Astral](https://see-saw.fun/see-saw-jukebox-06-ekko-astral/), [MSPAINT’s Deedee](https://see-saw.fun/see-saw-jukebox-07-mspaints-deedee/), [the Marked Men](https://see-saw.fun/see-saw-jukebox-08-the-marked-mens-jeff-burke-mark-ryan/), [Eraser](https://see-saw.fun/see-saw-jukebox-09-eraser/), [Touché Amoré](https://see-saw.fun/see-saw-jukebox-10-touche-amores-jeremy-bolm/), [King Tuff](https://see-saw.fun/see-saw-jukebox-11-king-tuff/), [DEVO’s Gerald V. Casale](https://see-saw.fun/see-saw-jukebox-devos-gerald-v-casale/), and [Downtown Boys](https://see-saw.fun/see-saw-jukebox-downtown-boys/). _This post is for paying subscribers only._ ### playlist: the 68 best punk songs of july 2026 URL: https://see-saw.fun/playlist-the-68-best-punk-songs-of-july-2026/ Last updated: 2026-08-03T13:07:31.000Z This past month has been an unreal one for new punk records. Usually I blog for a while with these playlist posts. It’s summer and I’m having a nice vacation, so let’s keep it short. I want to say a quick word about this [talk I did](https://www.instagram.com/p/DawLVqBlTq4/?ref=see-saw.fun) at the Eau Claire library earlier this month with a few members of the local community. My friend Jordan Duroe was talking about how music exists in the margins of real life, and how the goal is to widen those margins as much as possible. That really resonated with me at this point in my life. see/saw exists in the margins of a day job and an actual life. I do these monthly playlists, write and edit interviews with artists, book shows, make zines, broadcast a weekly radio show, co-host and produce a weekly podcast, deliver a monthly bonus podcast, and throw together weekly columns. Engaging with scrappy DIY records, the people who make them, and my fellow sickos isn’t my “job”—it’s a light on the horizon. Thanks for hanging out with me in the margins. [Subscribe to see/saw](https://see-saw.fun/#/portal/) for $4/month or $40/year or [barter](https://see-saw.fun/bartering/) if you’ve got the funds. Tell your friends about this still very scrappy operation. OK, back to vacation. Enjoy this playlist. --- [**see/saw’s 68 best punk songs of july 2026**](https://www.buymusic.club/list/seesaw-seesaws-best-punk-songs-of-july-2026?ref=see-saw.fun) Nekra: All We Got Is Us Spread Joy: Pygmalion Mesh: Boots on the Pavement 1-800-MIKEY: Me and My Only Smirk: Going Off to Die Cel Ray: Chitty Chitty Bang Bang Eraser: Crindy Invertebrates: Accosted Cuticles: Real Men Get Teary Freak Phone: Firecracker Girl Cry Cyclops: Beat Up The Carp: Fish Militia Ruckus: Pocket Full of Cash Constant Insult: Dead Cat TY: Cummin 4 U Twisted Teens: Guided Thunder Bad Sports: Follow Through Xanny Stars: See Right Through Billy Gardner & Friends: Saturday Topper: Badge Chrome Cell Torture: The Good That Hurt Does Vital Stress: Sit and Stare Dream World: Submission Shrines: Sombra Vaga Plum: Asymmetric The DOJD: Calvin and Hobbes Kobe Thomas: Acid Angel Celebrators: 0415 Power Pants: It’s Our Fault La Increíble Patrulla X: Peligrose The Grebes: Into the Cold Gold Cub: I Feel Incredible Dirty Knees: White Wolf Sharp Pins: Saturday Sun Mopar Stars: Tears Don’t Fall (From Government Eyes) Ultra Lights: Pleasure’s All Yours Sentence: Sentence Graphic Violets: Artificial Love Cold Comfort: Plugger Total Vacation: Pick Up Game NightFreak: Off the Rails Cujo: Lover and a Fighter Dog Date: Chrome Dragnet: Para-noid Why Bother?: The Final Ride Bart and the Brats: Kill Your TV Rupture: Guillotière Crazy Clue: Social Pressure Hot Load: Hot Night Badzy: Heat Lightning Skewed: Curb Appeal Crying Form: Nuff Said Loaming: What kind of luck is this? Sistema de Entretenimiento: He muerto 1000 veces ya Credit Card: Harsh Times Protomartyr: Sounds We Cannot Hear OUST: Shoot a CEO Society: Sarin Gas OBI Strip: New A.I O.S Spucke: Blut-Hurn-Schranke Rat Cage: Steady on Now Haverá Futuro?: Nunca Mais Alienator: Never Enough Degreaser: Butter and Salt Face Off: State Surveillance Falcon Crust: Samla Poäng Animated Violance: Shux Kinetic Orbital Strike: Ceaseless Genocide --- *see/saw’s monthly punk playlists are free. If you enjoy them, please share 'em around and* [*subscribe*](https://see-saw.fun/#/portal/)*.* ### punk this week: mopar stars, society + 14 more URL: https://see-saw.fun/punk-this-week-mopar-stars-society-14-more/ Last updated: 2026-07-31T21:35:22.000Z Hey, it’s [Punk This Week](https://see-saw.fun/tag/punk-this-week/), the regular see/saw column recommending the best new punk and rock'n'roll records. Hello from vacation. Shout out the City of Brotherly Love for exceptional new music from Mopar Stars, Society, and Eraser. Plenty of great stuff this week. For weekly columns delivered to your inbox in full, [subscribe to see/saw](https://see-saw.fun/punk-this-week-alien-nosejob-downtown-boys-debt-rag-12-more/#/portal/) for $4/month or $40/year or [barter](https://see-saw.fun/bartering/). There’s plenty of stuff for free subscribers, but a paid subscription gets you weekly columns, the full radio archive, and the monthly bonus podcast about perfect punk records, [*see/saw jukebox*](https://see-saw.fun/tag/jukebox/). see/saw subscribers help keep this operation kicking. Subscription money goes toward paying contributors. Enjoy some sick records and have a nice weekend. Happy birthday, Clint. --- **Mopar Stars:** [***Official Researchers of the NJ Devil***](https://moparstars.bandcamp.com/album/official-researchers-of-the-nj-devil?ref=see-saw.fun) **\[K/Perennial\]** This Philly power pop supergroup features members of Poison Ruin, Zorn, and Sheer Mag, so you should walk into this record with the highest songwriting expectations. They won’t let you down; this is power pop 101\. “Super Up Coupe” is buttery, “Tears Don’t Fall (From Government Eyes)” is revved up but still plenty sensitive. The harmonies are as gorgeous as their sticky sweet hooks, and there’s just enough grit to make their sound feel tangible instead of overly glossy. It’s a cloud of cigarette smoke being carried off by a nice breeze. Take this record for a walk while it’s still beautiful outside and remember what it’s like to feel something. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/07/a3235719192_10-1.jpg)](https://moparstars.bandcamp.com/album/official-researchers-of-the-nj-devil?ref=see-saw.fun) --- _This post is for paying subscribers only._ ### punk this week podcast: dog date + mesh URL: https://see-saw.fun/punk-this-week-podcast-dog-date-mesh/ Last updated: 2026-07-28T04:29:42.000Z [Punk This Week](https://see-saw.fun/tag/podcast/) *is see/saw’s weekly podcast from co-hosts Evan Minsker and Nina Corcoran—a discussion of the latest and greatest in the world of punk rock. We talk about six new punk records we’re loving from the past week.* Bam! Bam! Bam! We’re swooning over punk records like some construction workers who just saw some meatballs get dusted with parmesan. After discussing multiple outings to shows, the big five U.S. orchestras, and Nina’s superhuman ability to never get sick (until this week), we get into an excellent week of new music including records by [Dog Date](https://dogdate.bandcamp.com/album/perfectly?ref=see-saw.fun), [Mesh](https://meshphilly.bandcamp.com/album/no-fun-at-all-2?ref=see-saw.fun), [Vida Ruim](https://vidaruim.bandcamp.com/album/nem-mestre-nem-escravo-ep?ref=see-saw.fun), [Cel Ray](https://celray.bandcamp.com/album/cel-rayzer?ref=see-saw.fun), [Falcon Crust](https://falconcrust.bandcamp.com/album/f-rsten-till-botten?ref=see-saw.fun), and [Cuticles](https://siltbreeze.bandcamp.com/album/cuticles-more-joy-lp?ref=see-saw.fun). Some quick housekeeping: *Punk This Week* is taking next week off, so we’ll be sharing a brand new episode of [*see/saw jukebox*](https://see-saw.fun/see-saw-jukebox-downtown-boys/) (usually a bonus podcast behind the paywall) on the main feed. Otherwise, ad-free and bonus episodes are available exclusively to paid [see/saw subscribers](https://see-saw.fun/punk-this-week-podcast-cry-cyclops-cold-comfort/#/portal/)with the link at the bottom of this page! If you like this podcast, please subscribe and leave a review on your podcatcher + please tell your friends! --- *Punk This Week* is a [Ruinous Media](https://www.ruinousmedia.com/?ref=see-saw.fun) podcast; thanks to Ruinous for their support. Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.funhttps://feeds.captivate.fm/punk-this-week/). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/see%5Fsaw.fun/?ref=see-saw.fun) and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). Have a question you’d like to hear addressed on the show? Want to talk about a new record we didn’t discuss? Want to send a HARD PIVOT bumper? Join us on the see/saw [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun) or email us: [see-saw@see-saw.fun](mailto:see-saw@see-saw.fun). *Punk This Week* is made possible first and foremost by see/saw subscribers. Please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-cry-cyclops-cold-comfort/#/portal/) if you enjoy this podcast. You’ll get ad-free and bonus episodes, plus the weekly [Punk This Week column](https://see-saw.fun/tag/punk-this-week/) and the [see/saw radio](https://see-saw.fun/see-saw-radio/) archive! _This post is for paying subscribers only._ ### punk this week: cel ray, mesh, cuticles, dog date + 13 more URL: https://see-saw.fun/punk-this-week-cel-ray-mesh-cuticles-dog-date-13-more/ Last updated: 2026-07-25T18:26:34.000Z Hey, it’s [Punk This Week](https://see-saw.fun/tag/punk-this-week/), see/saw’s new punk and rock'n'roll recommendations column. Mesh, Cel Ray, and Cuticles all released classic albums this week. No Idea Records makes its long-awaited return. Constant Insult, Dog Date, and Alienator are all back with new stuff, and there’s so much more good new stuff beyond the names I just typed. Every installment of Punk This Week features a first blurb that’s free to all readers. If you’d like to get weekly recommendations of the best underground punk records delivered to your inbox, [get yourself behind the paywall](https://see-saw.fun/punk-this-week-twisted-teens-the-carp-16-more/#/portal/). It’s $4/month, $40/year, or [barter](https://see-saw.fun/bartering/); there’s a two-week free trial. [Paid subscribers](https://see-saw.fun/punk-this-week-twisted-teens-the-carp-16-more/#/portal/) get the bonus interview podcast [*see/saw jukebox*](https://see-saw.fun/tag/jukebox/), the [see/saw radio](https://see-saw.fun/see-saw-radio/) archive, and these weekly columns. see/saw is a reader-supported publication. There aren’t investors, just me running this love letter to good new punk music whenever I’m not working a day job or hanging out with my family. [Subscribe](https://see-saw.fun/punk-this-week-twisted-teens-the-carp-16-more/#/portal/) \+ read up. --- **Cel Ray:** [***Cel Rayzer***](https://celray.bandcamp.com/album/cel-rayzer?ref=see-saw.fun) **\[Exploding in Sound\]** At first blush, Chicago’s Cel Ray make punk music that’s wide-eyed, erratic, vibrant, and bouncy. Do not be misled by its candy coating; *Cel Rayzer* steeps to reveal a fucked up yet clear-eyed vision of the modern world. “Price of Gas” is a perfect example—this song about a dude navigating an era of rising costs by blaming all his ills on gas prices and, of course, women. There’s the single “Teen (Cult) Song” where their utopian vision for the future requires capital, land, and cultlike behavior. “Trash” is the latest classic punk celebration of trash *from the perspective of trash*, which presumes how wonderful it must be to be trash instead of human. There’s a paranoia and unpredictability to this music, and the record’s adrenaline seems to come from the moments when they look over their shoulders or dart down the nearest alley. This is music that speeds way up and slows way down, but regardless of their gait, *Cel Rayzer* never cedes intensity and stays absolutely riveting. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/07/a2522292175_10.jpg)](https://celray.bandcamp.com/album/cel-rayzer?ref=see-saw.fun) --- _This post is for paying subscribers only._ ### punk this week podcast: cry cyclops + cold comfort URL: https://see-saw.fun/punk-this-week-podcast-cry-cyclops-cold-comfort/ Last updated: 2026-07-25T15:20:58.000Z [Punk This Week](https://see-saw.fun/tag/podcast/) *is see/saw’s weekly podcast from co-hosts Evan Minsker and Nina Corcoran—a discussion of the latest and greatest in the world of punk rock. We talk about six new punk records we’re loving from the past week.* This week we discuss new ones from [Cry Cyclops](https://sorcererrecords.bandcamp.com/album/nightworld?ref=see-saw.fun), [Cold Comfort](https://thisiscoldcomfort.bandcamp.com/album/sprung?ref=see-saw.fun), [OUST](https://oustpunx.bandcamp.com/album/a-girl-can-dream?ref=see-saw.fun), [Loaming](https://loaming.bandcamp.com/album/this-is-no-way-to-live?ref=see-saw.fun), [Face Off](https://donor-records.bandcamp.com/album/face-off?ref=see-saw.fun), and [Rupture](https://rupturepunk1312.bandcamp.com/album/eponyme?ref=see-saw.fun). You want to live like we do? Eat some sour Super Cola candies from Japan, breathe that museum air away from all the wildfire smoke, (literally) introduce your parents to Twisted Teens, and most importantly, watch the cinema classic *Face/Off* (1997). Shout out *Jet Moto* (1996) and [*Rather be a fuck up*](https://oustpunx.bandcamp.com/album/rather-be-a-fuck-up?ref=see-saw.fun)(2025). Ad-free and bonus episodes are available only to paid [see/saw subscribers](https://see-saw.fun/punk-this-week-podcast-twisted-teens-the-carp/#/portal/)with the link at the bottom of this page! If you like this podcast, please subscribe and leave a review on your podcatcher + please tell your friends! --- *Punk This Week* is a [Ruinous Media](https://www.ruinousmedia.com/?ref=see-saw.fun) podcast; thanks to Ruinous for their support. Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.funhttps://feeds.captivate.fm/punk-this-week/). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/see%5Fsaw.fun/?ref=see-saw.fun) and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). Have a question you’d like to hear addressed on the show? Want to talk about a new record we didn’t discuss? Want to send a HARD PIVOT bumper? Join us on the see/saw [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun) or email us: [see-saw@see-saw.fun](mailto:see-saw@see-saw.fun). *Punk This Week* is made possible first and foremost by see/saw subscribers. Please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-twisted-teens-the-carp/#/portal/) if you enjoy this podcast. You’ll get ad-free and bonus episodes, plus the weekly [Punk This Week column](https://see-saw.fun/tag/punk-this-week/) and the [see/saw radio](https://see-saw.fun/see-saw-radio/) archive! _This post is for paying subscribers only._ ### punk this week: oust, kinetic orbital strike + 18 more URL: https://see-saw.fun/punk-this-week-oust-kinetic-orbital-strike-18-more/ Last updated: 2026-07-18T17:33:18.000Z Hey, it‘s see/saw’s punk + rock’n’roll recommendations column [Punk This Week](https://see-saw.fun/tag/punk-this-week/). This time, get in the pit with OUST and Kinetic Orbital Strike. See what the members of Bits of Shit have been getting into with Cry Cyclops. There’s some ’60s garage throwback stuff, the return of Lenguas Largas, and a bunch of brand new bands making impressive debuts. The opening blurb is available to all readers. Since see/saw is a reader-supported newsletter, each weekly column is available in its entirety to [paid subscribers](https://see-saw.fun/#/portal/). That’s $4/month, $40/year, or [barter](https://see-saw.fun/bartering/) (hit me up for real, NOTAFLOF). A paid subscription gets you the monthly bonus interview podcast series *see/saw jukebox*, the full see/saw radio archive, and the weekly columns delivered to your inbox. It’s the generosity of readers that makes it so I can pay writers and photographers for their work on [see/saw features](https://see-saw.fun/tag/interview/) (which are available to everyone, subscription or no). Ultimately, this site is a love letter to the best punk music in the world, and every new subscriber is another step toward the longevity of a pipe dream passion project. Thanks for your support. Now get listening. --- **OUST:** [***A Girl Can Dream***](https://oustpunx.bandcamp.com/album/a-girl-can-dream?ref=see-saw.fun) **\[Rope or Guillotine\]** One of the most underrated hardcore records of 2025 was *Rather be a fuck up* by Amsterdam’s OUST. It was a searing rebuke of despots that felt like the ultimate statement of intent for punks across this fascism-riddled globe of ours. Their new 7” *A Girl Can Dream* picks up exactly where that last record left off, this time going full Luigi with its track “Shoot a CEO.” Sometimes in art, you’ve got to follow your anger to its most logical conclusion, and in this case, it’s exploring the most violent interpretation of the phrase “people this rich should not exist.” This is anthemic hardcore about the absolute fucking idiots throwing the entire planet into disarray via greed and war. There’s a grit to their vocals and a steely determination in their lyrics. Best of all, it rips. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/07/a3053602262_10.jpg)](https://oustpunx.bandcamp.com/album/a-girl-can-dream?ref=see-saw.fun) _This post is for paying subscribers only._ ### today’s milk are still looking for tomorrow’s sound URL: https://see-saw.fun/todays-milk-are-still-looking-for-tomorrows-sound/ Last updated: 2026-07-15T15:14:29.000Z I’m at [Tocororo](https://tocororodetroit.com/?ref=see-saw.fun)—a rum bar with a pinball room—in Detroit’s Eastern Market, drinking a painkiller to wash down the best chicken legs I’ve ever eaten in my entire life. I’m playing the new Pokémon machine when Jeff Mahannah (drums, art) of Kalamazoo’s [Today’s Milk](https://todaysmilk.bandcamp.com/?ref=see-saw.fun) calls to tell me he and Joe (bass) have arrived at the venue: a semi-secret DIY space a couple blocks over known as the Field Office. I’m a little nervous—not because of the interview, but because I booked the show (a first for me) and I’m worried no one will show up. I practically accidentally catch a Magnezone before eventually succumbing to the terrorist acts of Team Rocket. The guys show up and I share the previous sentence with them almost verbatim. They're rightfully unimpressed. As we walk back to Field Office, I ask about Justin (guitar, vocals). I’m informed he’s made the drive with his wife and kids so they can hit the Tigers game tomorrow, but there was some trouble with their Airbnb and he had to book a hotel last second. The interview will have to be conducted a few hours—and a few drinks—later. I end up running the door before the show starts and I’m both relieved and delighted by the familiar faces. My dad comes, Chris and Aleahia ([Day Residue](https://dayresidue0.bandcamp.com/?ref=see-saw.fun)) show up, and a whole bunch of young people I’ve never seen are here to support their friend Lars (a young Detroit scene regular making his live debut). Josh ([Quitters](https://quittersquittersquitters.bandcamp.com/music?ref=see-saw.fun)) takes over door duties as the show begins and [Trucker Hat](https://truckerhat.bandcamp.com/album/demo?ref=see-saw.fun) start the night out right, ripping through a killer set with two bass guitars and a hell of a lot of fuzz. ## Sign up for see/saw a punk and rock’n’roll newsletter by evan minsker Subscribe Email sent! Check your inbox to complete your signup. No spam. Unsubscribe anytime. Next is the maiden voyage of Dee Obscenity and the Stepsons, featuring [Dee himself](https://hospicerecords.bandcamp.com/music?ref=see-saw.fun), Chuck ([H8 Mile](https://www.youtube.com/watch?v=Tl68HH5Lplc&ref=see-saw.fun), [The Stools](https://thestoolsdetroit.bandcamp.com/?ref=see-saw.fun)), and the aforementioned Lars on bass. Lars starts a chant of his own name and his friends rowdily join in. During the first song, Dee is possessed by a punk rock demon and writhes around on the floor. The only problem is, he’s failed to remove his Jazzmaster, replacing guitar with a high-pitched squeal for the next ten minutes. You’ll just have to take my word for it - it’s fucking awesome. Today’s Milk follow up the fuzz and the feedback with their unique brand of danceable punk rock. I’ve been looking forward to their set for months and they don’t disappoint in the slightest. Bathed in the projector light of the [AVGN *Metal Gear* episode](https://www.youtube.com/watch?v=bHyTzPtEAhk&themeRefresh=1&ref=see-saw.fun), they kick things off with “[The Towel](https://todaysmilk.bandcamp.com/track/the-towel?ref=see-saw.fun),” a standout track from their third EP. A few songs in, I realize they have something that people too often attribute to other bands that don’t have it: swagger. For not playing live often, they’re tight as hell. Finally Quitters—who have leveled up considerably from their already great, more indie rock sound—close the night out with some glorious, good old fashioned, loud-as-hell rock’n’roll. After the show, Jeff sells a few Today’s Milk tapes and some of his shirts. I buy [a particularly classy one](https://www.etsy.com/listing/748991201/above-the-rim?ref=shop%5Fhome%5Factive%5F5&logging%5Fkey=e03a7d876ff2a48fe372115f70e7a4ed1e831747%3A748991201) that says “Above the Rim” and features Michael Jordan dunking a basketball while Larry Bird eats his ass. A few minutes later, we head outside onto the patio for a very funny chat. --- **I gotta ask about the band name, since nobody knows why any of the bands I interview have the names they have.** Justin: Well, it’s Today’s Milk, I mean, you don’t want yesterday’s milk. We threw around band names and it just sounded like something we’d like to put on a flyer. Jeff: Yeah, I think we tried a lot of names, I can’t remember how we came up with that one. But we laughed about it for a while and thought if we put it on a flyer it would make people mad \[*laughs*\]. So it was like, *let’s just stick with that one.* Now it just makes *us* mad to say it out loud. **When was this? When did you start this project?** Jeff: A couple years ago now, huh? Justin: Yeah. We’re all from Kalamazoo, but I know Jeff from coming through Austin when I was living in Austin. He was playing in [Giorgio Murderer](https://giorgiomurderer.bandcamp.com/?ref=see-saw.fun) and [Legendary Wings](https://dirtnaprecords.bandcamp.com/?ref=see-saw.fun). I knew Joe from coming through Austin with Erik Nervous. Then I moved back to Kalamazoo, where I grew up, and I thought these guys might be cool dudes to start a band with. **And you were right.** Justin: There’s kind of a funny story, we were sitting next to each other at a bar and I thought–Jeff has a twin brother—and I couldn’t tell if it was him or his twin brother. So I text messaged him whether or not it was him \[*everyone laughs*\]. Jeff: I remember my girlfriend being like, “Why the fuck is that weird guy looking at us?” **And then you got a text from him.** Jeff: I actually got a text, yeah \[*laughs*\]. It said, “Are you at O’Duffy’s right now?” **“Wanna be in a band with me?”** Justin: That’s how it happened. Jeff: Basically, yeah. **So the art is obviously attention-grabbing, with the bright pink and blue, but the art seems sort of dystopian. It seems to be saying technology and humanity aren’t good.** Jeff: I was trying to do a kind of sci-fi thing for Today’s Milk, just because it’s future related. Today’s milk can be related to tomorrow’s milk or something \[*laughs*\]? Honestly I just didn’t want to draw a cow or something stupid like that. It’s kind of a work in progress as far as the artwork goes. And I don’t want that to define the band, but I guess in a lot of ways it does. Justin: I think it’s funny to comment on it. Everything is evolving. Jeff: It’s weird, I haven’t picked out lyrics from songs to draw. That’d probably be the smart thing to do. ![Joe, Justin, and Jeff from Today’s Milk at Detroit‘s Field Office on June 5, 2026; photo by Doug Coombe](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/07/BW-Todays-Milk-Live-Field-Office-June-5-2026-by-Doug-Coombe-22.jpg) Joe, Justin, and Jeff from Today’s Milk at Detroit‘s Field Office on June 5, 2026; photo by [Doug Coombe](https://www.dougcoombe.com/?ref=see-saw.fun) **There’s nothing about you guys on the internet. Did you guys just want to embrace the mystery, or how much do you actually want people to know?** Jeff: That’s a good point, man. I feel like because we haven’t played a lot of shows yet, we’re still trying to figure it out. Justin: I don’t know about trying to be a mystery, but I think we’re in the spot where we don’t have a bunch of venues and we don’t play a ton of shows. We focus on writing songs and figuring out our favorite shit to sound like. We love punk rock but we also love how entertaining other genres are. **Like funk.** Justin: There’s some funk for sure. Jeff: We definitely like to get funky. Justin: And I love the sound of gangster rap. It’s so cool. Punk rock’s what speaks to my soul, but I think what we’re doing as we progress is introducing as much weird, outsider stuff as we can to that sound. Adding some hip hop beats, techno, heavy metal. Dropping little things in there. **“The Towel” definitely has that. It’s almost like Westside Connection or something at the beginning.** Jeff: I think we’re trying to get it to where we’re writing songs starting with that feeling. We’ve been playing in punk bands forever and everyone who plays in punk bands wants to sound like a punk band. And my natural instinct is to sound like that and to play drums like that, because I’ve been playing drums like that forever. Justin: Which is good. Jeff: Which *is* good. Justin: That’s your soul. Jeff: It’s good. It’s fun, but it’s like, everybody does that, so we’re trying to not sound like everything we’ve always done. We wanna be different. We’re trying to stop ourselves from doing the same fucking shit. **It makes sense, because so much of your stuff is punk in spirit. As an example, there’s two songs that you guys have—“Already Inside” is one—where it’s almost power pop, like Cheap Trick.** Jeff: Yeah! **That, to me, is the best thing about the band. There’s *hooks*. I’m driving around singing along to this stuff.** Justin: You gotta have the hooks. You can’t fuck with hooks. The secret with trying to find a sound is how to take the hooks and make them your own. When we first started out, people would be like, “What’s your sound?” And we were like, “we’re gonna be hardcore with breakbeats.” Everyone loved that idea, but I think we’re getting to the point where we actually need to do that, because our instinct is always punk rock. And we can write those style songs all day... Jeff: And they’re great. We could slay as a band that’s just strictly a Buzzcocks cover band, basically. We could *slay* like that. But we’re better than that \[*everyone laughs*\]. **More ambitious at least.** Justin: I don’t have a problem with any band that sounds like the Buzzcocks at all... Jeff: I do. Justin: Jeff’s a hater in that way. Jeff: Bands are lazy. Bands try to sound like everybody else. Including us, that’s why we had to stop ourselves and say, “This is the easy way out, to do this stupid shit that everybody does, let’s just try *harder* to do something different.” Which we’re still trying to do. **I think “The Towel” being the first song I heard definitely did some crazy heavy lifting, in terms of being so unique that I thought, “I need to hear everything this band has done.” I wonder if I heard another song first, if it would’ve had the same effect, because that song seems like such a good thesis statement for what you’re going for.** Jeff: Yeah, definitely. **Or “Barracudas” is another one.** Jeff: Funky shit! That’s what I was talking to Justin about. “We gotta just start with the drum beat and the bass and shit gettin’ all funky *first* and then layer on some other shit, instead of just doing like the Ramones punk beat first, everyone does that.” **Because it’s tried and true.** Jeff: I know, because it’s awesome! **Jeff, I notice you’ve been cradling that bottle of Corazon like it’s your newborn child.** Jeff: Take a sip! **Can’t do that. I’m too paranoid about driving.** Jeff, through a mischievous grin: Justin drinks and drives every day. Justin: No I don’t. Jeff: *Almost* every day. With his kids in the car \[l*aughs*\]. Justin: Well I got a lot of practice when I was younger, but I don’t do it anymore. **You’d think you’d be pro at it now.** Jeff: He’s such a pro. At drinking and driving with his kids in the car \[*laughs*\]*.* ![Justin, Jeff, and Joe from Today’s Milk at Detroit‘s Field Office on June 5, 2026; photo by Doug Coombe](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/07/Todays-Milk-Portraits-June-5-2026-by-Doug-Coombe-3-1.jpg) Justin, Jeff, and Joe from Today’s Milk at Detroit‘s Field Office on June 5, 2026; photo by [Doug Coombe](https://www.dougcoombe.com/?ref=see-saw.fun) **Justin, how was your disastrous Airbnb experience?** Justin: Well, that was a really funny and intense moment, ‘cause I knew you were trying to interview me. But I don’t know what’s up with Detroit. I’m not a Detroiter. We rolled in and it was a tough lock box. I battled the lock box for a while and I realized if I battled it any longer I was gonna fuck up my hands, when I’m about to play guitar. Jeff: So you insisted that your wife do it. Justin: No, I went back time and time again. And we got it eventually, then there was no key in the lock box. It speaks to Detroit… Well, I don’t know if it speaks to Detroit, does it speak to Detroit? **I don’t know, I don’t Airbnb, I live here.** Jeff: Say something bad about Detroit, go ahead. What were you gonna say? Justin: No, I like it so much, I don’t wanna speak bad about it, it was just that Airbnb experience. **You think someone tried all ten thousand combinations just to get a key and then *not* go into the house?** Justin: Well I’m wondering, because it was kind of in the most gentrified part of Detroit, if perhaps someone does just go through and try to take the keys. But we won’t speak ill of Detroit, I love it here. Spiritually, Detroit is one of my favorite music cities ever. **So far there are three EPs and a single. Are you working on a full record?** Justin: So far we’re kind of EP-minded. I would love to do a full-length record, but it feels like, right now, one song at a time. Move forward and progress the sound. Jeff: Yeah, just cancel out the bad songs and have ten of the best songs ever that’ll eventually be a full-length record. Always weed out the weakest one. **So when you have ten EPs you’re going to take the best song off of each EP.** Jeff: Yeah! Basically. **It’ll be like one of those SNL greatest hits DVDs, like the best of** [**Tracy Morgan**](https://www.youtube.com/watch?v=z7sjXAvHRS8&list=RDz7sjXAvHRS8&start%5Fradio=1&ref=see-saw.fun)**.** Jeff: The best of [Chris Farley](https://www.youtube.com/watch?v=Ydpli6HztQo&ref=see-saw.fun) was sick. I had that on VHS and it was so funny. **Chris Kattan, an underrated one.** Jeff: You know what I hate about Chris Kattan? The monkey guy. **No!** [**Mr. Peepers**](https://www.youtube.com/watch?v=2L5%5FQcrzd1Q&ref=see-saw.fun)**?!** Jeff: That guy. Stupid shit, so dumb man. Joe: *Night at the Roxbury* I think is really funny. **\[*We talk about Chris Kattan movies for three straight minutes*\]** Justin: Alright we should get some good stuff in here, though. \[*They laugh*\]What are the best band interviews? **Fuck if I know. TY, Mod Lang, Dana...** Justin: \[*excitedly*\] We know Dana! Jeff: Nobody cares about any of those bands. *Nobody!* Justin: Should we beef Dana? Jeff: Let’s beef Dana. They suck! \[*everyone laughs*\] ![Justin from Today’s Milk at Detroit‘s Field Office on June 5, 2026; photo by Doug Coombe](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/07/BW-Todays-Milk-Live-Field-Office-June-5-2026-by-Doug-Coombe-4.jpg) Justin from Today’s Milk at Detroit‘s Field Office on June 5, 2026; photo by [Doug Coombe](https://www.dougcoombe.com/?ref=see-saw.fun) **You said earlier you guys were thinking about doing more shows.** Jeff: We want to branch out, we’re just trying to strategize which way to go, as far as going on tour and who to play for. The biggest thing, I think, is to write the best songs and put ‘em on the internet, because that’s just how it is these days. We’re not gonna be a tour dog band. We’re just not that band. As much as I’d love for Justin to just kill his whole family and go on tour for five months \[*everyone laughs*\]. Justin: Jeff only knows one way, Jeff’s a road dog. But we’re gonna tour, we’re gonna have a good time. Great bands, it’s all about the songs. You just wanna hear great songs. Jeff: That’s what I was thinking about Quitters. I bet they could make some really good recordings out of some of those songs. *\[Ed.:* [*They did*](https://quittersquittersquitters.bandcamp.com/album/quitters-ep?ref=see-saw.fun)*.\]* **\[What appears to be a fist fight breaks out a block over and we think it’s just what the interview needs\]** Jeff: Justin, will you go over there and start fighting someone please. **\[Two of the would-be brawlers dap up.\]** Jeff: Awwww, they’re friends. It's fake. Joe: I was actually ready for a gunshot. **Really?** Jeff: Joe has a gun on him at all times. If there’s one thing people should know, it’s that Today’s Milk is strapped. \[*everyone laughs*\] Justin: Can you translate this to be a sober interview? --- *see/saw is a reader-supported publication. If you enjoyed this article, please share and* [*subscribe*](https://see-saw.fun/#/portal/)*.* ### punk this week podcast: twisted teens + the carp URL: https://see-saw.fun/punk-this-week-podcast-twisted-teens-the-carp/ Last updated: 2026-07-14T18:33:38.000Z [Punk This Week](https://see-saw.fun/tag/podcast/) *is see/saw’s weekly podcast from co-hosts Evan Minsker and Nina Corcoran—a discussion of the latest and greatest in the world of punk rock. We talk about six new punk records we’re loving from the past week.* After a discussion about the lucha mask that lives on the back of a baseball hat (see below), sour candies, Krill, and the hostile puppet takeover of a sick Chicago ice cream spot, Evan and Nina cement their legacy as innovators with the invention of Drumba. They also discuss the new albums by [Twisted Teens](https://cpnpc.bandcamp.com/album/florida-water-blues?ref=see-saw.fun), [the Carp](https://totalpunkrecords.bandcamp.com/album/tangled-up-with-the-two-tailed-rat?ref=see-saw.fun), [piso franco](https://discosperoquebien.bandcamp.com/album/piso-franco?ref=see-saw.fun), [NightFreak](https://nightfreakchicago.bandcamp.com/album/midwest-rattlesnakes-3?ref=see-saw.fun), [La Increíble Patrulla X](https://lipxwav.bandcamp.com/album/r-mpase-en-caso-de-emergencia?ref=see-saw.fun), and [Vital Stress](https://vitalstress.bandcamp.com/album/vital-stress-s-t-ep?ref=see-saw.fun). Be sure to check out Matt Mitchell’s [Twisted Teens feature for *Paste Magazine*](https://www.pastemagazine.com/music/twisted-teens/twisted-teens-interview-july-2026?ref=see-saw.fun), plus the [“Florida Water Blues” music video](https://www.youtube.com/watch?v=VQmRlwSnYYQ&ref=see-saw.fun) and Caspian’s [improvised song-turned-guinea pig sighting](https://www.instagram.com/p/DaqkkvJvGwQ/?ref=see-saw.fun). Ad-free and bonus episodes are available only to paid [see/saw subscribers](https://see-saw.fun/punk-this-week-podcast-overlooked-favorites-the-ritornello-form-hot-load/#/portal/)with the link at the bottom of this page! If you like this podcast, please subscribe and leave a review on your podcatcher + please tell your friends! ![Evan Minsker wearing the Minnesota Twins / AEW Brawl in the Ballpark 2026 commemorative hat/lucha mask](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/07/MixCollage-14-Jul-2026-12-22-PM-1056.jpg) Evan Minsker wearing the Minnesota Twins / AEW Brawl in the Ballpark 2026 commemorative hat/lucha mask --- *Punk This Week* is a [Ruinous Media](https://www.ruinousmedia.com/?ref=see-saw.fun) podcast; thanks to Ruinous for their support. Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.funhttps://feeds.captivate.fm/punk-this-week/). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/see%5Fsaw.fun/?ref=see-saw.fun) and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). Have a question you’d like to hear addressed on the show? Want to talk about a new record we didn’t discuss? Want to send a HARD PIVOT bumper? Join us on the see/saw [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun) or email us: [see-saw@see-saw.fun](mailto:see-saw@see-saw.fun). *Punk This Week* is made possible first and foremost by see/saw subscribers. Please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-overlooked-favorites-the-ritornello-form-hot-load/#/portal/) if you enjoy this podcast. You’ll get ad-free and bonus episodes, plus the weekly [Punk This Week column](https://see-saw.fun/tag/punk-this-week/) and the [see/saw radio](https://see-saw.fun/see-saw-radio/) archive! _This post is for paying subscribers only._ ### punk this week: twisted teens, the carp + 16 more URL: https://see-saw.fun/punk-this-week-twisted-teens-the-carp-16-more/ Last updated: 2026-07-10T21:01:21.000Z Hi there, it’s [Punk This Week](https://see-saw.fun/tag/punk-this-week/)—see/saw’s punk and rock'n'roll recommendations column. This time, we’re looking at Twisted Teens’ revelatory surprise album *Florida Water Blues*, the Carp’s latest masterclass in street punk propaganda, plus new ones from NightFreak, Billy Gardner & Friends, Sharp Pins, Ultra Lights, Yankee Bastard, Youth in Asia, and so many others. Every installment of Punk This Week features a first recommendation that’s free to all readers. If you’d like to get recommendations of the best stuff from the world of underground punk delivered to your inbox each and every week, you’ve got to [get behind the paywall](https://see-saw.fun/#/portal/). It’s $4/month, $40/year, or barter; there’s a two-week free trial. [Paid subscribers](https://see-saw.fun/#/portal/) get the bonus interview podcast *see/saw jukebox*, the see/saw radio archive, and weekly columns. see/saw is a reader-supported publication, which means everything you see on these pages is funded by reader subscriptions. There’s no publisher or investors backing this thing, just a former career music journalist with a day job and a lot of enthusiasm for the good stuff. [Subscribe](https://see-saw.fun/#/portal/), read up. Have a nice weekend. --- **Twisted Teens:** [***Florida Water Blues***](https://cpnpc.bandcamp.com/album/florida-water-blues?ref=see-saw.fun) **\[Going Underground\]** Every great once in a while, an artist spills over with incredible songs and boundless charisma. This quality is why the ascent of New Orleans’ Twisted Teens was inevitable. Caspian and RJ return with their third album *Florida Water Blues*—their second full-length of 2026 and improbably their best record yet. Part of their success here is a full-bodied embrace of their mythology—Cas’ grizzled voice holler-croons about cigarettes, swamps, and fate. Also, when dude says “I invented a taste” to kick off the album…yeah! There’s not another band, full-stop, with a singer like Caspian or with a sound like Twisted Teens’. Their drive and scuzz, and perhaps most importantly their drum machine and forays into sampling and tape experiments, lends this the language of underground garage punk. RJ’s steel and Cas’ endlessly quotable fables (especially “Javelina”) keep one foot in the world of country/folk traditions, while their approach is decidedly rock’n’roll. This duality has remained the secret to Twisted Teens’ success. Cas was steeped in old time traditions and close with the late great August Golden. He was a Charlie Feathers apostle who learned punk by living it. *Florida Water Blues* is by no means the work of tourists dabbling in multiple spaces or aesthetics-only country traditionalists who know how to cuss good. On some pro wrestling or carnie shit, they present a heightened expression of who they really are when they don the Twisted Teens boots. The songs on *Florida Water Blues* are driving and catchy and singular. I’m a fucking mark, and I’m not the only one. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/07/a2998339203_10.jpg)](https://cpnpc.bandcamp.com/album/florida-water-blues?ref=see-saw.fun) _This post is for paying subscribers only._ ### punk this week podcast: overlooked favorites + the ritornello form + hot load URL: https://see-saw.fun/punk-this-week-podcast-overlooked-favorites-the-ritornello-form-hot-load/ Last updated: 2026-07-08T20:31:04.000Z [Punk This Week](https://see-saw.fun/tag/podcast/) *is see/saw’s weekly podcast from co-hosts Evan Minsker and Nina Corcoran—a discussion of the latest and greatest in the world of punk rock. We talk about six new punk records we’re loving from the past week.* On a post-Independence Day episode where we discuss new ones from [the Ritornello Form](https://theritornelloform.bandcamp.com/album/majority-rule?ref=see-saw.fun), [Hot Load](https://drunkensailorrecords.bandcamp.com/album/realized-lp?ref=see-saw.fun), [Grey Matter](https://greymattermi.bandcamp.com/album/grey-matter?ref=see-saw.fun), [Smirk](https://smirk1.bandcamp.com/album/speculative-fiction?ref=see-saw.fun), [Far Too Late](https://fartoolate.bandcamp.com/album/demo-26?ref=see-saw.fun), and [Chrome Cell Torture](https://chromecelltorture.bandcamp.com/album/ibiza?ref=see-saw.fun) (plus ska, Nitro, and fruit salads), we open the episode with **our overlooked favorite punk records from 2026 so far**—eight highlights we hadn’t brought to the podcast this year so far. **Evan’s picks:** Useless Eaters’ [*Music for Clout*](https://halo-fx.bandcamp.com/album/music-for-clout?ref=see-saw.fun), Noxeema’s [*Sick*](https://noxeema.bandcamp.com/album/sick?ref=see-saw.fun), Body Shop’s [*Sex Body*](https://bodyshop.bandcamp.com/album/sex-body-5?ref=see-saw.fun), Touch Girl Apple Blossom’s [*Graceful*](https://touchgirlappleblossom.bandcamp.com/album/graceful?ref=see-saw.fun), and Aswan Dam’s [*In the Playground of the Damned*](https://aswandam.bandcamp.com/album/in-the-playpen-of-the-damned?ref=see-saw.fun). **Nina’s picks:** [*Latinameric Anfútbol*](https://selloimpermanente.bandcamp.com/album/latinameric-anf-tbol?ref=see-saw.fun), Lip Critic’s [*Theft World*](https://lipcritic.bandcamp.com/album/theft-world?ref=see-saw.fun), Chemical Threat’s [*Promo Tape*](https://sttwrecords.bandcamp.com/album/promo-tape-5?ref=see-saw.fun), and A.I. Death Calculator’s [*A.I. Death Calculator*](https://dial9records.bandcamp.com/album/a-i-death-calculator?ref=see-saw.fun)*.* Ad-free and bonus episodes are available only to paid [see/saw subscribers](https://see-saw.fun/punk-this-week-podcast-fiddlehead-alien-nosejob/#/portal/)with the link at the bottom of this page! If you like this podcast, please subscribe and leave a review on your podcatcher + please tell your friends! --- *Punk This Week* is a [Ruinous Media](https://www.ruinousmedia.com/?ref=see-saw.fun) podcast; thanks to Ruinous for their support. Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.funhttps://feeds.captivate.fm/punk-this-week/). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/see%5Fsaw.fun/?ref=see-saw.fun) and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). Have a question you’d like to hear addressed on the show? Want to talk about a new record we didn’t discuss? Want to send a HARD PIVOT bumper? Join us on the see/saw [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun) or email us: [see-saw@see-saw.fun](mailto:see-saw@see-saw.fun). *Punk This Week* is made possible first and foremost by see/saw subscribers. Please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-fiddlehead-alien-nosejob/#/portal/) if you enjoy this podcast. You’ll get ad-free and bonus episodes, plus the weekly [Punk This Week column](https://see-saw.fun/tag/punk-this-week/) and the [see/saw radio](https://see-saw.fun/see-saw-radio/) archive! _This post is for paying subscribers only._ ### age of peace’s idyllic and necessary gear shift URL: https://see-saw.fun/age-of-peace-idyllic-and-necessary-gear-shift/ Last updated: 2026-07-06T14:30:30.000Z Angie Willcutt and Micah Wu are already prolific creatives in the first stage of their careers, jetting around with constant output between projects like Artificial Go, ROD, and their respective solo catalogues and artworks. But the couple has always come at their work with a sense of grounded, hand-crafted spirituality. That’s why Age of Peace felt like a natural next step in their practice; it was a part of them all along. The Cincinnati folk duo’s album [*Ode to Life*](https://ageofpeace.bandcamp.com/album/ode-to-life?ref=see-saw.fun) is grown out of time spent together between hectic tour schedules. It feels like being invited into the very home where the album was recorded—listening to warm tapes while drinking tea that Willcutt blends herself. But to call this album a depiction of domestic bliss feels too simple, as it grapples with themes of global strife and a connection with nature while the tom drum beats on. Wu is able to channel the electric guitar towards its most intentional, delicate state, while Willcutt—typically known for her boundless onstage energy—stands in one spot, percussion in hand with a voice that swirls towards the sky. Alongside Harry Sings’ recent album [*Christie’s Toy Box*](https://harrysings.bandcamp.com/album/christies-toy-box?ref=see-saw.fun)*,* *Ode to Life* solidifies the label Blushing Grinning as a place where punks can express their softer side. On the last day of their eight-stop tour, the band sat down for a chat in WFMU’s kitchen following a [radio session with the Jersey City station](https://wfmu.org/archiveplayer/?show=164115&archive=288178&ref=see-saw.fun). They spoke about their creative process, collecting instruments, and the difference between their live and recorded work. --- ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/07/IMG_1399.JPG) Age of Peace, live photos by Alex Crookshanks and Kanji Lanham **Since we’re doing this interview on the last day of Age of Peace’s first tour, I’d love to know how it’s been.** Angie: This tour has been really good. It’s been a lot more slow-paced than when we tour with Artificial Go, so it's refreshing in that manner. I have really enjoyed the bands we've played with as well. Micah: I feel like we’ve been able to connect with people on a deeper level than I’m used to, just because of the laid-back atmosphere and energy that we put out with this music. Lots of hanging out, lots of good bands. Pretty good turnouts at the shows. Good drives. We’ve seen the rain and we’ve seen the sunshine as well, so the weather’s been keeping it fresh. We did split off halfway through to play a couple of Artificial Go shows, and we just got back to it yesterday in New York City at Brothers Wash and Dry. And although it was a bit jarring, we had a great time. **How do you keep your head straight when you’re working on so many projects?** Angie: Lately, my brain has been doing hula hoops. A bit overloaded, but it’s also what I want to be doing. So I am riding the “see-saw” of work and passion. It’s been fun, but it’s mainly been the behind-the-scenes planning to make these tours and releases happen that was a lot to juggle. Now we just get to do the fun part where we tour and finally show the world what we've been working on with both projects. That’s felt good. Micah: Home has not necessarily been a place of rest like I think it should be as of late, and so just leaving that environment has allowed us to be more present. Although this was a bit of a stressful situation, hopping between bands halfway through a tour, it’s been easier than dealing with the work at home looming over our heads throughout the day. And since it is so fast-paced right now, there’s not much energy to even be thinking about the future or past, so it’s all working out. My brain didn’t turn into spaghetti somehow. **To focus on Age of Peace, how did you guys come to start this project?** Angie: The inspiration truly was to make an “age of peace” for ourselves. As much as we love punk rock music, and we’re not gonna stop doing that, we really needed something that was different. It felt really healing to focus on some slow, intimate music, especially just writing between the two of us as a couple. Micah: Yeah, we definitely have roots in folk music or singer-songwriter music, along with other genres. I started writing songs during the pandemic on a Harmony Parlor guitar and met Angie shortly after, who had written over 200 songs at that point—a lot of which were on acoustic guitar. I started writing a lot of the compositions after returning home from a five-week tour with Artificial Go in 2025\. We just kind of took it one song at a time, and then all of a sudden we had a collection that we sat down with in the living room with the four-track and just pumped out in about a day. **Do you think there’s a connection between punk music and folk music?** Angie: I think it’s really saying what you want. And that folk music does have a lot of resistance in the way that punk does. And at the end of the day, I think a lot of people are spreading similar messages, just worded differently and sonically differently. Micah: Yeah. It really is doing what you want with what you have. There are silly punk songs and political punk songs, and they’re probably just as many political folk songs and silly folk songs. But they’re all done without the need for anything else but what’s around. **Can you tell me a bit about the two lead singles, "Rainy Days” and “Dead Alligator,” and how you wrote them?** Micah: I think “Rainy Days” was the first song. I was messing around with alternate tunings on guitar because I felt myself falling into routines, playing the same things, and feeling uninspired. And that came out after listening to a lot of K. Liemer. I don’t think it sounds like any of his songs in particular, but it gave me a similar feeling. Then I ran downstairs and just hit a little Mo Tucker on the drums. That’s the one song where I do play drums on the record, and \[Angie\] holds it down on the floor tom on all the others. Angie: "Dead Alligator" was a song from when Micah and I took a road trip to New Orleans. We saw a dead alligator on the side of the highway, and I actually used to pick up roadkill when I lived in Kentucky. I preserved bones and pelts for five years, so I’ve always had an eye out for roadkill, and we had just never seen a dead alligator. So we made a jingle song about it, and we kept singing it as a vocal song for about a week straight. We came home, and Micah wrote guitar to turn it into a full song. That was fun to just sing it like a nursery rhyme in the car. Micah: Yeah, and that really lightened the situation of having bronchitis on tour. Angie: That technically was the first Age of Peace song. We wrote it like two and a half years ago, and we knew we wanted to release it at some point, but it didn’t feel right to do it until we had Age of Peace. Micah: Right. I guess “Rainy Days” was more of the push to start a new thing. “Dead Alligator” being the first song fit into that new idea. Which is really nice to have a reason to be able to put it out. **What was your lyric-writing process for the rest of the album?** Angie: It’s really more poetry than ever trying to write a catchy song when writing lyrics. In general, I try to keep it a stream of consciousness and to let my hand write before I think about what I’m gonna say. And a lot of the lyrical writing for Age of Peace felt very spiritual, like an open channel for me to access my spirit, and I really just tried to keep it as a long, strung-out poem, and I let myself get out like vomit, and then I evaluate what I wrote, and then play with the melodies. Sometimes the melodies do come first, and then I’ll write lyrics. Micah: Your art seems very instinctual to me, which is really cool. **How would you say the songwriting process for Age of Peace is different? Does it take inspiration from Rainbow Valley more so than ROD or...** Angie: I would say yeah. Micah: It was a bit of a dilemma sometimes. With “Rainy Days,” since that was the first thing, I wasn’t really sure if I was going to use that for myself or if Angie was gonna sing on it, but I didn’t really feel compelled to say anything on the track. Although it could have been instrumental, I think she really allowed it to blossom as a track. **How do you make that decision?** Micah: Well, Angie’s just got such a beautiful voice, so it’s kind of hard not to want to have her sing if she feels so inclined. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/07/IMG_1425.JPG) Angie Willcutt’s live percussion options, photos by Alex Crookshanks and Kanji Lanham **Would you say the other projects have an influence on this one, or do you like to keep it completely separate mindsets?** Angie: I try to keep it separate in my mind. It’s almost like different characters, different parts of me. But of course, being a part of all of those projects, everything will inevitably bleed in together at some point. So I wouldn’t be surprised if things start tying in other ways. But with Age of Peace. Micah has been tying in ROD elements through doing live looping and tying in our past electronic musicianship into this folk project. **I didn’t know you did that component live because I just heard the album, so that was really cool to see.** Micah: It’s fun to have an aspect of a live set that’s not 100% nailed-down routine. Give it a little twist, get a little more atmospheric with it. And I also can't use 10 minutes out of our set to tune my guitar. I like to use my looper pedal and my delay. There is some of that on the record, but most of the songs are played completely dry, just guitar straight into the end. We just made it as raw as possible for the most part, with some supporting spatial elements here and there. **Can you tell me more about your recording process for *Ode to Life*? You guys are known to home-record all of your projects.** Micah: Yeah, some of the songs started off with me just playing a classical guitar, and I just had my Walkman set up in front of me. So it was initially just going to be used as a tool to collect ideas and rough drafts, but there’s something special about being able to hear the spool being wound along with the guitar. It just gives it some perspective. It makes sense that we made it in the living room. I think it sounds like we made it in the living room. But we would record guitar on a Walkman, bounce it to a four-track, and she would lay down vocals. Some of the songs we just played live together. Angie: There’s one song I played guitar on too, “Love on Strings.” **Where do you find all your percussive instruments, Angie? How do you know when to apply them?** Angie: All of the instruments that I use for this project are ones that I already had at home. So it was just simply picking up what was sitting around. If I’m at a thrift store, antique store, or music shop and see a random percussive instrument, I’ve always been gravitated towards wanting to play with it. So it’s been fun to incorporate the ones I’ve collected over the years. I got the Ocarina flute for Christmas from my mom; one rain stick was from my mom, and then the other rain stick I found at a thrift store. And I found a steel tongue drum at the same thrift store. I wanted to have a jingle mallet, so I added a Velcro children’s bracelet to a drum mallet and some red polka dot fabric to create the sound and the visual aesthetics that I wanted. I also made a wooden bead stick that I put on the tom drum for visual and a little bit of sound, but it's always random when I choose to use the percussive instruments when writing and during the tuning segments of our set. I just play around with whatever. Micah: It doesn’t sound random to me. Sounds natural. Angie: Yeah, but then there’s the flutes. I play a slide whistle and an Ocarina flute, and neither of those things I know how to work, so I’m just always freestyling. I’m trying to see if I can figure it out as we go. Micah: You’re just an artist, I guess. **I’m also curious about you building the aesthetics in the world around Age of Peace. Everything you do has its very distinct energy and vibe, like with clothing and art. How do those decisions get made?** Angie: For me, I just really feel in character for everything I do, and I embody the character. I also am a visual thinker, so my thoughts have pictures as well. When experiencing and writing this music, I have pictorial thoughts that are much different than any of the other projects we’ve done because it’s totally different music. And I think that when I’m a part of any musical project or art project, I embody it intensely in a way where I want to embody it in every aspect. So when I’m feeling the music, I want to feel the world of the music in every aspect of life. Micah: I think also being somewhat limited with our instrumentation helps with that. I love to just hop around to different instruments to write songs out of the inspiration that comes out of working with something new. But all the songs that I personally wrote were just on guitar, and I feel like that kind of nailed it down. Also messing with different tunings. There was a constant feeling of having no bearing. **I’m curious about the “Dead Alligator” video—how that came together.** Angie: For “Dead Alligator,” we knew off the bat we wanted that music video to be playful with puppets. And I wanted to make a puppet theater, which I had never sewn before. I have my sewing set up in our kitchen, and I sprawled out all of the fabrics I had on the ground and just pulled every fabric that felt like the sound of the music. And then we had a friend help who does puppets in Lexington, Kentucky, who did help make a few puppets as well, and acted it out with us. **How does film feel as an expressive form as opposed to music?** Angie: I think I love all outlets of performance where I really enjoy doing film stuff and music, so to me it’s really fun doing music videos. Micah: We both enjoyed film prior to meeting one another, such as making home videos with siblings. Or I used to skateboard a lot and make skateboard videos with friends. It does feel like an afterthought sometimes when it is paired with music, mostly due to our schedules being really, really busy lately. But I had a lot of fun with the videos that we made, and I’d love to make it even more of a priority in the future. We’ve been having fun doing some Artificial Go music videos lately, and I think those are gonna definitely be a level up from what we’ve done with that band in the past. So it's been kind of maybe eye-opening to see what a music video can be. Angie: We have people that are helping, so that’s been a new experience. **Your growth with Artificial Go has been amazing lately, but do you feel like you’ll always need to be doing something DIY, like Age of Peace, even as you grow?** Micah: Yeah, most definitely. Angie: I feel like that’s in Micah’s and my roots of being from Kentucky. All the artists and musicians in Kentucky are some of the most DIY people I’ve ever met. And being raised there, I feel really conditioned to that. Everyone just has to make their own vision since there’s not as much going on. Micah: Yeah, but I don’t think either of us ever wants to lose our individuality. I think that would be really sad if we never made anything ourselves ever again. **How’s Cincinnati different working there creatively than in Kentucky now that you’ve been there for a few years?** Angie: More bands come through on tour in Cincinnati. So we’ve been able to play with more bands that live in different areas, and we’ve been able to play the music we do with more adjacent groups. Just overall, with it being a bigger city with more people, it’s just been nice. There are lots of people playing different types of music, which is always refreshing. ![Age of Peace’s Micah Wu and Angie Willcutt; photo courtesy the artists](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/07/IMG_2853.jpeg) Age of Peace’s Micah Wu and Angie Willcutt; photo courtesy the artists **Whatever band comes through, you have a project that could possibly work on the bill.** Micah: Which can be stressful sometimes, but it’s fun to meet new people and potentially see them again in their city. Angie: Something that has been fun about this tour has been that we made a tour bucket list. We’ve done that with Artificial Go, too, and we’ve been checking ’em off. **Like what?** Angie: Get licked by a dog. See a constellation. We can’t say all of them. Micah: We should have put “get stopped at the border.” Angie: Yeah, we got searched at the border in Canada, and it wasn’t our first time that’s happened on tour. They were investigating the rain sticks, trying to see what was inside, and I was like, “That’s beans.” **What’s next for Age of Peace?** Angie: We have a song coming out on a Blushing Grinning compilation. I think overall we just want Age of Peace to be our sanctuary of music—where we can have a space to take it easy at home and DIY. We will probably tour again one day, but I think we’re most excited to just have something at home to work at that's simply just for us. And then when we’re ready, we’ll share it. --- *Go listen to* [*Sydney Salk’s show on WFMU*](https://www.wfmu.org/playlists/UA?ref=see-saw.fun)*. see/saw is a reader-supported publication. If you enjoyed this piece, please share it and* [*subscribe to see/saw*](https://see-saw.fun/#/portal/)*.* ### punk this week: smirk, chrome cell torture + 16 more URL: https://see-saw.fun/punk-this-week-smirk-chrome-cell-torture-16-more/ Last updated: 2026-07-04T16:27:11.000Z Hey, it’s [Punk This Week](https://see-saw.fun/tag/punk-this-week/), see/saw’s weekly recommendations column. Usually, these columns are behind a paywall and feature \~2,000 words about the best new punk and rock’n’roll records. I’ve been burning the candle at both ends, so I need a break. This week’s column is just recommendations and some short descriptions. No paywall this time, so just click around and listen to all this good stuff. In observance of Independence Day weekend, the only thing that gives me hope about the United States of America right now are the people in this country who feverishly make weird shit and anyone out there organizing to assist their neighbors. Fuck ICE. Fuck Trump. Fuck war. Fuck Netanyahu. Free Palestine. Practice political dissent. [Free Des Estrada](https://freedes.net/?ref=see-saw.fun). [Subscribe to see/saw](https://see-saw.fun/#/portal/). Support punk rockers. --- **Smirk:** [***Speculative Fiction***](https://smirk1.bandcamp.com/album/speculative-fiction?ref=see-saw.fun) **\[Smoking Room\]** The great Nic Vicario returns. A distinct third chapter in the Smirk story. He’s made classics followed by solid records. This is his best since *EP*. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/07/a2028926568_10.jpg)](https://smirk1.bandcamp.com/album/speculative-fiction?ref=see-saw.fun) --- **Chrome Cell Torture:** [***Ibiza***](https://chromecelltorture.bandcamp.com/album/ibiza?ref=see-saw.fun) **\[Cool Death\]** Stylish and massive goth from Byron Bay, Australia. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/07/a2358461283_10.jpg)](https://chromecelltorture.bandcamp.com/album/ibiza?ref=see-saw.fun) --- **Haverá Futuro?:** [***A Ilusão Do Progresso***](https://roachlegrecords.bandcamp.com/album/a-ilus-o-do-progresso?ref=see-saw.fun) **\[Roachleg/Educacion Cínica\]** Catchy and punishing hardcore from Brazil. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/07/a2172556011_10.jpg)](https://roachlegrecords.bandcamp.com/album/a-ilus-o-do-progresso?ref=see-saw.fun) --- **High Ideals / Wasted Boys:** [***Do the Midwest***](https://hardcoreheadache.bandcamp.com/album/high-ideals-wasted-boys?ref=see-saw.fun) **\[Hardcore Headache\]** Two sick Norfolk, Virginia hardcore bands doing a tour split. It rips and it made me want to see these bands. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/07/a2224271818_10.jpg)](https://hardcoreheadache.bandcamp.com/album/high-ideals-wasted-boys?ref=see-saw.fun) --- **Sex Mex:** [***21:12***](https://sexmexsux.bandcamp.com/album/21-12?ref=see-saw.fun) **\[self-released\]** The long-awaited debut album from San Antonio garage punk sicko Sex Mex. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/07/a2686454453_10.jpg)](https://sexmexsux.bandcamp.com/album/21-12?ref=see-saw.fun) --- **Hot Load:** [***Realized***](https://drunkensailorrecords.bandcamp.com/album/realized-lp?ref=see-saw.fun) **\[Drunken Sailor\]** L.A.’s Hot Load offer up budget rock via d-beat. It’s garage punk that’ll rip your head off. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/07/a2813074927_10.jpg)](https://drunkensailorrecords.bandcamp.com/album/realized-lp?ref=see-saw.fun) --- **Real Shocks:** [***It Ends Today***](https://www.youtube.com/watch?v=n9LuSI8yf4c&ref=see-saw.fun) **\[self-released\]** Promo tour tape from these Philly rippers. Extremely sick riffs. --- **Caustic:** [***Caustic* EP**](https://slow-death-records.bandcamp.com/album/caustic-s-t-e-p?ref=see-saw.fun) **\[Slow Death\]** British Columbia punishers with a ripping lo-fi EP. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/07/a2262240206_10.jpg)](https://slow-death-records.bandcamp.com/album/caustic-s-t-e-p?ref=see-saw.fun) --- **Half Brick:** [***Half Brick***](https://halfbricksy.bandcamp.com/album/half-brick-3?ref=see-saw.fun) **\[self-released\]** This UK-based hardcore punk unit are impressive as shit on this six-song tape. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/07/a0327436299_10.jpg)](https://halfbricksy.bandcamp.com/album/half-brick-3?ref=see-saw.fun) --- **Dole Manchild: “**[**Back From Ze Dead!**](https://dolemanchild.bandcamp.com/track/back-from-ze-dead?ref=see-saw.fun)**” \[self-released\]** A weirdo ripper single from Naarm’s manchild. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/07/a3035680672_10.jpg)](https://dolemanchild.bandcamp.com/track/back-from-ze-dead?ref=see-saw.fun) --- **NightFreak: “**[**Midwest Rattlesnakes**](https://nightfreakchicago.bandcamp.com/track/midwest-rattlesnakes-4?ref=see-saw.fun)**” \[Big Neck\]** Chicago’s face-melting trio line up a single with a perfect title for their whole thing. Incredible Fred showcase. Excited for the album. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/07/a1961049883_10.jpg)](https://nightfreakchicago.bandcamp.com/track/midwest-rattlesnakes-4?ref=see-saw.fun) --- **Wax Minds:** [***Funatic Asylum***](https://waxminds.bandcamp.com/album/funatic-asylum?ref=see-saw.fun) **\[Sabotage\]** Warped art punk album from a German band; very sick. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/07/a2119145274_10.jpg)](https://waxminds.bandcamp.com/album/funatic-asylum?ref=see-saw.fun) --- **HEX:** [***HEX***](https://bodyblows.bandcamp.com/album/s-t-7?ref=see-saw.fun) **\[Body Blow\]** Greek surf. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/07/a2567988433_10.jpg)](https://bodyblows.bandcamp.com/album/s-t-7?ref=see-saw.fun) --- **Power Pants:** [***PP18***](https://powerpantsrock.bandcamp.com/album/pp18?ref=see-saw.fun) **\[Punk Valley\]** The latest catchy-as-hell missive from the always prolific Virginia punk Dee. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/07/a3352052762_10.jpg)](https://powerpantsrock.bandcamp.com/album/pp18?ref=see-saw.fun) --- **Criminal Orders:** [***Criminal Orders***](https://dogbiterecordsmusic.bandcamp.com/album/s-t-dbr-013?ref=see-saw.fun) **\[Dogbite\]** Classic-sounding and basement-muffled Indonesian hardcore. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/07/a0267593865_10.jpg)](https://dogbiterecordsmusic.bandcamp.com/album/s-t-dbr-013?ref=see-saw.fun) --- **DVD:** [***COMPACT DISC***](https://dvdmusic4.bandcamp.com/album/compact-disc?ref=see-saw.fun) **\[self-released\]** Brisbane-based indie punk quartet. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/07/a3267637882_10.jpg)](https://dvdmusic4.bandcamp.com/album/compact-disc?ref=see-saw.fun) --- **Bramwell:** [**“Standing on Stones” / “British Rails (Are Long And Fast)”**](https://gobnation.bandcamp.com/album/standing-on-stones-british-rails-are-long-and-fast?ref=see-saw.fun) **\[Gob Nation\]** Cardiff-based jangle pop with ace tambourine work. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/07/a3001859049_10.jpg)](https://gobnation.bandcamp.com/album/standing-on-stones-british-rails-are-long-and-fast?ref=see-saw.fun) --- **Space Drugs:** [***Erasing Certain Parts First***](https://spacedrugs.bandcamp.com/album/erasing-certain-parts-first?ref=see-saw.fun) **\[self-released\]** Driving and fuzz-slathered garage punk from Philadelphia. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/07/a2215476896_10.jpg)](https://spacedrugs.bandcamp.com/album/erasing-certain-parts-first?ref=see-saw.fun) --- **What else:** [Jay Veil](https://jayveil.bandcamp.com/album/off-with-your-head?ref=see-saw.fun),[Kae Pe](https://diamachi.bandcamp.com/album/diamachi?ref=see-saw.fun), [Emergeense](https://emergenseexit.bandcamp.com/track/aint-no-kool-dude-2?ref=see-saw.fun), [Permanent Makeup](https://www.youtube.com/watch?v=HSS5aGPLqbU&ref=see-saw.fun), [Kätyrlauma](https://katyrlauma.bandcamp.com/album/hurme?ref=see-saw.fun), [Active Slaughter](https://growyourownrecords.bandcamp.com/album/you-bastards?ref=see-saw.fun), [Sea Moss & Miscomings](https://zumaudio.bandcamp.com/album/big-tube-scene?ref=see-saw.fun), [B.A.S.H.](https://bloodandskinnyhedgehog.bandcamp.com/album/catsingle-26?ref=see-saw.fun), [Dolorio & los Tunantes](https://sellofisura.bandcamp.com/track/agua-salada?ref=see-saw.fun), [Disfoo](https://disfoo.bandcamp.com/album/disfoo?ref=see-saw.fun), [Whoopers](https://whoopers.bandcamp.com/album/tell-me-about-your-father?ref=see-saw.fun), [Zero Sanity](https://zerosanitypunk.bandcamp.com/album/demo-2?ref=see-saw.fun), and [Nug](https://nugtheband.bandcamp.com/album/crippling-fun?ref=see-saw.fun). ### see/saw jukebox: downtown boys URL: https://see-saw.fun/see-saw-jukebox-downtown-boys/ Last updated: 2026-07-02T22:37:57.000Z [*see/saw jukebox*](https://see-saw.fun/tag/jukebox/)is a bonus podcast about perfect punk records from *Punk This Week* hosts Nina Corcoran and Evan Minsker. Each episode, we’re joined by special guests to curate perfect punk records for a mythical jukebox. [Downtown Boys](https://downtownboys.bandcamp.com/?ref=see-saw.fun)’ Victoria Marie and Joey La Neve DeFrancesco join us this time surrounding the release of their new album [*Public Luxury*](https://downtownboys.bandcamp.com/album/public-luxury?ref=see-saw.fun). In addition to discussing four perfect punk records, we talk about the band’s early days, Rhode Island, UMAW, the near-miss pick of Los Saicos’ “[¡Demolición!](https://munsterrecords.bandcamp.com/album/demolici-n-2?ref=see-saw.fun),” and much more. If you’d like to hear this episode of [*see/saw jukebox*](https://see-saw.fun/tag/jukebox/)or our [previous chats](https://see-saw.fun/tag/jukebox/) with members of the Marked Men, Touché Amoré, Citric Dummies, DEVO, Optic Sink, MSPAINT, Eraser, and King Tuff, they’re all available exclusively to [paid see/saw subscribers](https://see-saw.fun/see-saw-jukebox-devos-gerald-v-casale/#/portal/) ($4/month or $40/year or [barter](https://see-saw.fun/bartering/) \+ there’s a two-week free trial)! Subscribe and listen below. _This post is for paying subscribers only._ ### playlist: the 53 best punk songs of june 2026 URL: https://see-saw.fun/playlist-the-53-best-punk-songs-of-june-2026/ Last updated: 2026-07-01T21:25:20.000Z When you get into music journalism on the news side of things, it doesn’t take long to learn that it requires actual reporting skills. You’ve got to know how to locate and distill court documents, how to find the right contacts for comment, understand the correct questions to be asking, and crucially, actually pick up the phone. The romance of the job is just talking to bands or saying “hey this record is sick.” I was disavowed of that idealism early into working Pitchfork news shifts, and this past week, reporting became an urgent component of the day-to-day at see/saw. In early May, I met with Greer and Cesar from the [Kings Road Merch Union](https://see-saw.fun/minneapolis-punks-voted-to-unionize-a-merch-warehouse-sony-music-plans-to-shut-it-down/) in Minneapolis one day before their shop’s unanimous vote in favor of unionizing. Interviews for see/saw usually sit in the can for a while before I actually get a chance to write them up, but the plan was always to tell their story while they were well into the bargaining process. That plan changed. Last Tuesday, the same day they were set to begin bargaining, I got a through-the-grapevine text that the union had been informed of Sony Music’s plans to shutter their warehouse. Immediately, I reached out to Greer, Cesar, and their contact with the Teamsters Local they’d organized with. I emailed representatives for bands whose merch is produced by Kings Road. I reached out to the lawyer representing Sony Music at the bargaining table. [I published that story on Friday](https://see-saw.fun/minneapolis-punks-voted-to-unionize-a-merch-warehouse-sony-music-plans-to-shut-it-down/). Especially compared to previous see/saw articles, it got a massive amount of engagement. This was a story about punks working at a merch warehouse that specializes in punk merch, though the aesthetic particulars of the piece aren’t what make it a good fit for an online punk magazine. Unions and punks share some inherent qualities around organizing, speaking truth to power, and community-building. All labor journalism is punk journalism. Even if nobody reads the work, telling union stories is extremely important. It’s cool to expand the scope of what gets published beneath the see/saw banner. June was an extremely busy one over here. [Nina and I spoke with DEVO’s Jerry Casale on *see/saw jukebox*](https://see-saw.fun/see-saw-jukebox-devos-gerald-v-casale/), and in addition to the weekly podcast and columns, four excellent interviews went up: [Jim Fair chatting with Shaved Ape](https://see-saw.fun/shaved-ape-on-the-punk-mentors-who-changed-his-life/) in Pittsburgh, [Billiam talking to Media Puzzle](https://see-saw.fun/media-puzzle-trot-new-land-beyond-the-big-log/) in Naarm, [Ben Taylor grabbing beers with Shop Talk](https://see-saw.fun/shop-talk-secret-they-dont-have-anything-to-prove/) in Brooklyn, and [Zach Mitchell chopping it up with Choncy](https://see-saw.fun/choncy-on-cincinnati-cuisine-brainrot-and-kitchen-sink-punk/) before and after a show in Mississippi. Some exceptional records came out, too. Here’s the part where I remind you that see/saw is a reader-supported publication, which means all those writers above got paid for their work thanks to the patronage of subscribers. If you want to help sustain this operation, please [consider subscribing](https://see-saw.fun/#/portal/) for $4/month or $40/year or [barter](https://see-saw.fun/bartering/). Here are the 53 best punk songs from the past month. Stay cool out there. --- [**see/saw’s 53 best punk songs of june 2026**](https://www.buymusic.club/list/seesaw-seesaws-best-punk-songs-of-june-2026-1?ref=see-saw.fun) Finale: Almas perdidas Guiding Light: Shackled by Lust The Carp: Fuck Alex Karp Alien Nosejob: Nowhere to Go Pleasure Cube: The Woodshed Roberta Lips: Coup de Bluff Perennial: What’s New on the Beat Scene Quitters: Mean Motherfucker Gimic: The Devil’s Rose Cel Ray: Toxic Baby Jane: Surfing to Hell Nadie Lo Quiere: Todo por hacer K9: Get Loaded and Smile The Circulators: Pointless Game Prisão: Amar sem amarras Cover My Shift: “Mark Wilson” MESH: Violent Peasant Edging: When Things Turn Around Liquid Cross: This World Sex Mex: Needles in the Camel’s Eye (Brian Eno cover) Cherry Cheeks: D.O. Theme Odor Eater: Nightcaller Gripe: All Our Fans Are Morons TANO!: L’escurçó del safareig Deadbeat Beat: Pink Dust Artificial Go: Jane Ate the Apple Seed Double Date: Copycat Reveal Yourself: sicko Deathfakers: It’s Nice to Take the Bus Tower of One: Go Pills Guyscrapers: All Day and All Night Non Plus Temps: I Am Not Wise Body Suit: On a Mission The Sex Shoppe: Big Ass Dog Mirage: Motore Di Corrosione Spiderweb: Stop the Rats Drastic Plastic: I’m a Car Sweeping Promises: Cocoon Society: Casualties of War Debt Rag: It’s Clear What’s Going On Taxi Girls: Try Harder Sniffany & the Nits: Best of Luck Consensus Madness: N.R.P. Downtown Boys: Public Works CS Cleaners: G+T dope smokin homos: diy heart surgery Adult Learners: Fever Dream Oova: Ratón EKGs: Thoughts Acid Casualties: Smoke the Feds L.O.T.I.O.N. Multinational Corporation: Boots on the Ground ORC: ORC LIKE ME Poguba: Noč --- *see/saw is a reader-supported endeavor. If you enjoyed this playlist, please share and* [*subscribe*](https://see-saw.fun/#/portal/)*.* ### punk this week podcast: fiddlehead + alien nosejob URL: https://see-saw.fun/punk-this-week-podcast-fiddlehead-alien-nosejob/ Last updated: 2026-06-30T21:29:55.000Z [Punk This Week](https://see-saw.fun/tag/podcast/) *is see/saw’s weekly podcast from co-hosts Evan Minsker and Nina Corcoran—a discussion of the latest and greatest in the world of punk rock. We talk about six new punk records we’re loving from the past week. Ad-free and bonus episodes are available only to paid* [*see/saw subscribers*](https://see-saw.fun/punk-this-week-podcast-roberta-lips-non-plus-temps/#/portal/)*with the link at the bottom of this page!* This new episode features records by [Fiddlehead](https://fiddleheadma.bandcamp.com/album/baby-ill-change?ref=see-saw.fun) ([read David Anthony’s piece](https://www.formerclarity.com/fiddlehead-decides-to-live/?ref=see-saw.fun)), [Alien Nosejob](https://aliennosejob.bandcamp.com/album/how-a-mosquito-operates?ref=see-saw.fun), [Consensus Madness](https://ironlungrecords.bandcamp.com/album/endeavors-lungs-309?ref=see-saw.fun), [Old Yeller](https://oldyella.bandcamp.com/album/demo-tape?ref=see-saw.fun), [Girl Trouble](https://girltrouble.bandcamp.com/album/as-is-wo5-klp322?ref=see-saw.fun), and [Baby Jane](https://babyjane.bandcamp.com/album/surfing-to-hell-2?ref=see-saw.fun). Plus, Evan and Nina take a long walk through recent ponderings—seeing “Weird Al” live, hearing bluegrass gossip about troublemaking cloggers, the rebranded resurgence of FKA Altoids Sours, the possibility of violet-flavored Choward’s, Jeni’s Ice Cream flavors that unsurprisingly freak it, the backyard black raspberry crop, seeing *The Fly* for the first time, and of course, the identity of Carrot Bruce. --- If you like this podcast, please leave us a review + share it + subscribe! *Punk This Week* is a [Ruinous Media](https://www.ruinousmedia.com/?ref=see-saw.fun) podcast; thanks to Ruinous for their support. Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.funhttps://feeds.captivate.fm/punk-this-week/). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/see%5Fsaw.fun/?ref=see-saw.fun) and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). Have a question you’d like to hear addressed on the show? Want to talk about a new record we didn’t discuss? Want to send a HARD PIVOT bumper? Join us on the see/saw [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun) or email us: [see-saw@see-saw.fun](mailto:see-saw@see-saw.fun). *Punk This Week* is made possible first and foremost by see/saw subscribers. Please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-roberta-lips-non-plus-temps/#/portal/) if you enjoy this podcast. You’ll get ad-free and bonus episodes, plus the weekly [Punk This Week column](https://see-saw.fun/tag/punk-this-week/) and the [see/saw radio](https://see-saw.fun/see-saw-radio/) archive! _This post is for paying subscribers only._ ### choncy on cincinnati cuisine, brainrot, and kitchen sink punk URL: https://see-saw.fun/choncy-on-cincinnati-cuisine-brainrot-and-kitchen-sink-punk/ Last updated: 2026-06-29T21:58:28.000Z Small acts of kindness from strangers on tour tend to stick with you. The awkward feeling of showing up to a new city right as everything is closing but right before loading in? That’s universal among all punk touring acts. This is the situation Big Clown found ourselves in the first time we visited beautiful Cincinnati, Ohio, home to one of America’s most robust punk scenes. We arrived around 4:30 p.m., which is the worst time to try to enjoy a new-to-you city full of strangers. Luckily, [Choncy](https://choncy.bandcamp.com/?ref=see-saw.fun)—one of the local acts on the bill that night—invited us to a spontaneous cookout at their shared apartment. We’d never met in person before, but they proceeded to grill up burgers and introduce us to Grippos, the Queen City’s finest regional and overly seasoned potato chip. The members of Choncy were in college at the time, but I couldn’t really tell from the worldly cynicism of their debut record [*Community Chest*](https://choncy.bandcamp.com/album/community-chest?ref=see-saw.fun). These were the songs of a beaten man; vocalist Liam Shaw seems to have been chewed up and spit out by our stupid world, coming out the other side feeling like the only normal person in the room. Little did I know that these were dispatches from a man seeing his own corporate future and thinking “oh god, this is going to *suck*.” The band matched the tone, mixing post-punk, hardcore, and a heavy dose of jittery energy into a zesty blend akin to the Grippos’ dense zing. We hung around their house for probably a little too long, but they were warm and accommodating, shooting the shit with us about collegiate life and what they wanted to do after they graduated. I felt a bit like a unk Grandpa, but these unexpected moments of connection are what makes touring fun. Choncy grew up, graduated, and drifted apart, but only physically. Guitarist Simon Schadler moved to New York City, but that didn’t stop them from sending tracks back and forth and assembling their best album yet. [*Trademark*](https://choncy.bandcamp.com/album/trademark?ref=see-saw.fun), their third album on Feel It Records, transforms their self-described “kitchen sink” approach into a no-pun-intended trademark sound while still letting Shaw yell about modern contrivances like scrolling on his phone, dressing for job interviews, and taking out too many loans. Even though he records long distance, Schlader’s nervy lead guitar lines feel integral to tracks like “A Dogs Best Man.” Drummer Joe Carpenter and bassist Nathan McVeigh sound more confident and buoyant than ever. Their everything-in-a-blender approach feels more refined, with their influences working together in tandem instead of in isolation. It’s hard not to feel like the main character of [*20X Multiplier*](https://choncy.bandcamp.com/album/20x-multiplier?ref=see-saw.fun)'s“Jacked”—juiced to the gills and running through walls like the Kool-Aid Man—when listening to this record. I caught up with Choncy in Jackson, Mississippi before our bands played together at [CS’s](https://see-saw.fun/on-css-the-mississippi-punk-dive-of-our-dreams/). The interview was partially conducted in Big Clown singer Lucy Isadora’s home (interrupted by the need to pack our shit up and get to the venue) and partially after our soundcheck. The conversation gets a little off rails and a lot off topic, but that’s kind of what listening to their records feels like. --- ![Choncy, photo courtesy the band](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/06/Choncy1--1-.jpeg) Choncy, photo courtesy the band **I feel like so many Choncy songs, especially on *Trademark*, are about jobs.** Liam: We love talking about jobs. **A lot of them are about the absurdity of specifically corporate jobs. Have any of you ever had a corporate job?** Simon: I interned for a while for a big international engineering firm. Liam writes all the songs, he should pick my brain about what it’s *really* like working for the man. I work in lighting design now. Liam: I’ve had a Microsoft Teams kind of corporate job for about a year now. A lot of the older songs—and some of the newer ones—came out of applying for jobs after college. I was so angry about not getting a job. I did digital media, so I worked at a news station for a bit. Some of the songs came out of that, but I kinda liked that job. Joe: It paid like shit. Liam: I got screamed at a lot. I like high stress jobs… Simon: Which is why you worked as a librarian before that. Liam: I was a shelver. Joe: You should’ve stayed at that job. Liam: I would’ve had to get a degree. Joe: I do blue collar work now, but I was at Kroger for a while. **Liam, how many jobs did you apply to before you got one?** Liam: Probably somewhere in the two hundreds over a couple of years. I tried to do freelance work while searching, and I was serving too. I had a few internships and some jobs here and there, but I never got *the* job. Even the job I have now, it’s just okay, but I think everyone says that. I see other bands that tour for a month and think, “so you don’t have a job? Are you taking unpaid time?” I guess for some people they just do temp jobs or they’re a teacher. Nathan: One of the guys in Cruelster has the most fucked up jobs I’ve ever heard in my life. Connor has this job where he goes to powerplants and makes and repairs controller boards. He was telling us that for the Poison Ruin tour they had to stop on a day and he had to drive separately to another city to work at a plant. **How many of these songs were written pre-you getting a job versus post-job?** Liam: A lot of them are pre-job. We wrote a lot of this album while I was at this job. **Does the job measure up to all your expectations?** Liam: \[*laughs*\] Honestly, yeah. I kind of knew it was going to be boring. They like me and they think I do a good job. I’ve told some people at work \[about the band\], and there’s some other musicians, but I told a lot more people when I was serving. **The idea of your coworkers finding a song like “Company Man” is really funny to me.** Liam: I had a coworker, an older guy who played music. He liked it and told me it sounded like the B-52’s. Simon: It’s funny you mention “Company Man.” The day that song came out, it was announced in my company newsletter that I was being promoted from intern to designer. I got tagged in my work’s Instagram story and the Choncy story, so I had to share both back to back. My work liked the band, though. **You’re not the one singing the “fuck my job” songs.** Simon: The other guy’s the one with hate in his heart. I feel like a lot of times with the job songs, Liam’s writing from a fictional character’s perspective. **Now that you’ve gotten to the corporate space, do those characters feel real to you?** Liam: Yeah, there’s a lot of people like that. It’s not a toxic work environment though—it’s pretty sterile. Most of my coworkers complain about their jobs louder than I do in my songs. They’ll be like “this is so fucking stupid” at work. Choncy probably isn’t that bad in comparison. **For the two of you that don’t have a corporate job, do you listen to these songs and feel like “wow, that sounds like it sucks, I’m glad I’m not doing that” or is it “I wish I was doing something different.”** Nathan: Sometimes I wish I was working a corporate job. PTO is really the only thing I want. Simon: Me and Liam are getting paid to go on tour, technically. That’s important when you’re divvying up finances from the tour. Ideally, we can cover the days people aren’t working. Joe: I’m more of a “fly by the seat of my pants” kinda guy. That’s how I live my life, just… Nathan: Rugged. Joe: Shut up. \[*everyone laughs*\] This is a sore subject right now. Simon: Liam called Joe “rugged” in the van earlier. Joe: You called me something worse than rugged. **What’s worse than rugged?** Joe: “Rough around the edges.’ He said he meant it as a compliment. That’s not a compliment! **There’s two songs on *Trademark* about scrolling on your phone: “Scroller” and “Bypass.” How do y’all feel about your phones?** Liam: I love my phone. Nathan: We’re so on our phones. Liam: The least brainrotted person in the band is Simon. Simon: I’m the least brainrotted but Joe is the least online. Joe: I’m doomscrolling on Facebook Marketplace. **That is the most brainrotted place on the Internet in some ways.** Joe: I saw a coffin turned into a car, like a coffin mixed with a lawnmower engine with a seat on it. I put it on one of our posters for the last tour. Liam: Being a band means you’re so fully online. It’s a ginormous part of it. Nathan: We have the worst Internet presence as a band. Liam: I think it’s right down the middle. Simon: It’s pretty bad. Nathan: We don’t really post. Simon: That’s a stylistic choice. If you commit to it, it’s easier. Nathan: It’s because we don’t want to post some of the shit we have to say. Simon: I’d rather talk to people in person and share just the necessary information online. It’s too much work to keep up with this shit. Liam: I promoted some of this album on TikTok. I took some of our music video clips and posted them with captions, because I used to do some of that as part of my freelance work, like freelance video editing… Nathan: \[*quietly*\] Clipfarming. Liam: We got a few hundred likes. I posted the tour poster and someone commented: “I’m gonna come out!” Nathan: We’re the next Cameron Winter. Simon: I feel like with any social media decisions, Liam gets super worried that someone’s gonna think we’re annoying. Nathan: I wanted to put a picture of the release show weekend flyer over my bare foot on the gas pedal of the car to be like “Chicago, we’re on the way!” and Liam told me no. I got vetoed super fucking hard. **There’s always a tough line with how much to use social media as a band because, going back to the songs themselves, the phone *is* bad. Scrolling *is* bad. But you have to be on it so people know what you’re doing.** Liam: I heard that on Facebook, before our time, you used to be able to post shows and people would actually tell you if they’re going. It would actually give you a temp check of how things are going. Now it’s like, oh, this got 80 likes, who knows? **I’m older than y’all. I was playing music in the heyday of the Facebook event. If you got 50 people saying they were going to your event, you could reasonably assume between 40-60 people were going.** Joe: Wow. Nathan: That’s nice. We weren’t on our phones on Thursday from 2 o’clock until we got to Louisville, and then the first thing somebody said to us when we got to the venue was, “Hey, did you hear Kyle Busch died? We’re putting this whole tribute out to Kyle Busch tonight.” I thought, surely, he’s joking. Liam heard it and he goes, “Dude, Kyle Busch died.” We, in the middle of the set, had to look up if Kyle Busch died. You keep up to date by scrolling. **There’s a lyric in “Scroller” about watching a man die on your phone. What’s the worst thing all of you have seen on the Internet?** Liam: I really like that lyric because it was pre-Charlie Kirk. That line is so perfect. But, really? It was probably Charlie Kirk. That was so bad. Someone sent a closeup to our group chat of his neck exploding. Nathan: I was unfortunately that guy in the group chat. Simon: That means Nate has seen far worse. Nathan: I don’t even know what the worst thing I’ve seen is. Simon: I can answer this easily: I was friends with really edgy kids when I was 11 and *BME* *Pain Olympics* was around. My friend made me watch a video of someone cutting his own member off. One of my old coworkers would show me videos of people dying all the time, like people getting beat to death with a baseball bat. He wouldn’t be laughing, he’d be like, “Check this shit out, man!” I’d have to watch it and go back to chopping cheese. Joe: I think I’d agree with the Charlie Kirk shooting. I did have a few 4chan friends, but I never watched the Isis beheading videos. I knew people that did, but I was never a part of that. Simon: Now I feel like I’m cooked. I remember watching the Charlie Kirk video and feeling nothing. Liam: Did you see the close up one? Joe: I almost fainted when I saw it, it was fucked. Nathan: I get a lot of war footage in my feed from the Ukraine/Russia war. For some reason, my algorithm thinks I want to see people dying in trenches. **It’s so crazy that scrolling has become very violence-heavy.** Simon: I feel like scrolling is less appetizing than it used to be. That’s because there’s no credibility online anymore. AI has ruined enjoyment of the videos. When you see something that looks real but it’s like, “Oh, this is AI,” you feel like you’ve been tricked. Now my brain gets overloaded when I watch fruit cheat on each other. Joe: I have a way better experience on Facebook Marketplace, where I can text some guy and get a Drake cutout for $35 that’s six feet tall. **Simon, you moved to New York before recording *Trademark*. How did the band manage that?** Simon: There were a few bumps in the road, but we’re lucky because I’m not the base of the band. Being the lead guitarist, they can write songs without me and I can just put the cherry on top. I’ll give my iteration of the songs and sometimes it’ll change things, but it’s lead guitar. It doesn’t have to change the song structure. Liam: We did some of that on *Community Chest* as well. Nathan: We recorded *Community Chest* in Nashville with just Joe, Liam, and myself. Simon had left the band to go to New York for a bit–he was the original drummer. Joe swapped out with Simon, and then Simon came back to Cincinnati for a semester or two, so we brought him back in. It was right before we were going to put the album out and we had him write parts for it all. Simon: The goal wasn’t originally to write parts. I was planning on playing the same power chords that Liam did, but I think we were all getting ideas for new layers to add. Coincidentally, they had breaks in the songs where there were openings for solos. Joe: You had the lead for “That Guy” and we thought “why not just do the whole thing?” **So was *20X Multiplier* the only one where you recorded it all together?** Simon: Yes. That’s maybe why it’s the weirdest. **Why do you think it’s weird?** Simon: It sounds more like songs written by multiple people. It’s really noisy and a little wobbly. I feel like *Trademark* makes more sense because we had more time. It’s smarter—not in a bad way, just smarter. Joe: I think we were finding our footing on *20X Multiplier*. I came into Choncy from outside of punk bands. I wanted to play punk music, but I didn’t feel like we were punk rockers. The vibe wasn’t fast, heavy, and gross. It was way cleaner with some nerdy personality embellishments. I think we were trying to throw everything at the wall at once—we had a hardcore song, a Dead Kennedys song, a weird art rock song. Simon: I think that really comes from all of us being into a lot of shit. We’ve never sat down and talked about what band we’re trying to go after. **I was going through your album bios and the one thing that keeps popping up is that you’re a “kitchen sink” kind of punk band: a little bit of hardcore, a little bit of egg punk, a little bit of this and that. Is not being pigeonholed in a genre important to you?** Nathan: We like to write whatever. We have a jangly, almost bluesy song that we put on the Dot Dash Comp \[*“Tie”*\]. Joe: It’s almost twee. Nathan: We’ve never written a song like that, but if we can piece it together and it sounds good, we’ll do it. Joe: Me and Liam wrote “Tie” together. I like how that worked. Sometimes fewer cooks in the kitchen, or when you have people chefing stuff up by themselves, works better. **Is it hard to find the motivation to do things when you’re at a distance?** Simon: At first. I think me actually moving \[permanently\] to New York was a weird shift. It was right off the release of *20X Multiplier*, so we deserved a bit of a break anyway. I’m glad we took extra time to work shit out. The process of recording *Trademark* wasn’t too crazy. I never felt unincluded on anything. I was more than happy to play this role in the band. **Do you prefer to work at a distance?** Simon: I wouldn’t say it’s the preference. I can make it work. We’ve brought positives out of it. When I moved to New York, I really wanted to cement myself in the scene. It’s a whole new thing. Choncy is still my number one project in my brain, but I have to work on being at shows and getting a band together in New York. Hence [Van Goth](https://vangothrocks.bandcamp.com/album/is-it?ref=see-saw.fun). **How did Van Goth come together?** Simon: I was trying to book a show in New Jersey for an off day on tour and I couldn’t. I decided to book a second New York show and make it a big Palestine benefit show. We secured a big wrestling ring. [Sydney Salk](https://see-saw.fun/author/sydney/) came out to that and we just got to talking there. I told her I was moving to New York, just trying to meet people there that were into the same music as me. It came up pretty naturally. **I’m a huge wrestling fan and there’s always been a part of me that thinks playing in a wrestling ring would be cool. Was it actually cool?** Nathan: \[*sarcastically*\] Sure. Simon: Nate ate shit. Joe: He got too far ahead of himself. Liam: We got stagemogged by Balaclava, who went before us. We were so self-conscious. Nathan: I was trying to keep the energy up, so I was bouncing back and forth off the ropes. I went for one—hit it. Went for another, then another one, and then on the last one I went through the ropes, flipped all around, and landed on my fucking back outside of the ring. I also ripped my finger open on the second song. ![Nathan McVeigh dons a finger injury at a show they played inside a wrestling ring; photo courtesy the band](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/06/IMG_9990.jpeg) Choncy’s Nathan McVeigh dons a finger injury at a show they played inside a wrestling ring; photo courtesy the band **Being bloody and falling through the ropes is very pro wrestling. You had your own match, basically.** Simon: That was a cool show, but a very weird one. Joe: Our set was not amazing. Simon: We raised $1,400, so I was happy. **Lucy’s running a show now, but she wanted to ask about Grippos. Y’all turned her onto them and she loves them. Are they the best Cincinnati regional snack?** Nathan: I personally hate Grippos. They’re too cheesed up. Simon: They’re soggy. **I personally like a chip with a lot of shit on it.** Nathan: That makes sense, I’m just not a chip guy. Simon: I give them a 7/10\. I don’t think any chip is a 10/10, though. **Well, what’s the best Cincinnati regional food in general?** Nathan: Goetta. Joe: Skyline Chili. Everyone knows Skyline. Simon: Everytime I come back from New York, I have to have it. Nathan: Graeter’s Ice Cream is good. **I feel like Cincinnati has really good regional food.** Simon: It’s a foodie town at a good price. **I loved goetta when we had it on tour.** Simon: The important thing to mention about Cincinnati food is that none of it will leave you feeling good. Goetta’s a delicious meat, but it’s also the worst meat ever produced. Nathan: It was made by poor people in Cincinnati who didn’t have enough meat to last the winter, but they *did* have a lot of oats and grains to add to it and make a sausage out of it. Joe: In the 1850s! **There’s this line in the bio for *Trademark* where you ask if there’s anything left to say. Do you feel like there is anything left to say in punk?** Liam: When we make punk songs, we always think “this song sounds like this band, this song sounds like that band.” \[*laughs*\] It’s impossible to make an original riff. It’s gonna sound like nine other songs that have been made in other waves of rock and punk music. Will there be a new idea? **I went through the bios for the albums while listening to everything sequentially. The idea of what you can say in punk comes up in all of them, but it eventually gets to a point where it’s like, “I don’t know!”** Liam: \[*laughs*\] Maybe there’s something to say about making three albums, because a lot of bands don’t get to three albums. Nathan: They don’t make it past one. Liam: We ran out of ideas. Simon: We’re not *really* running out of ideas. Joe: If anything, I feel like it’s getting easier to write songs. Some of the songs from *Community Chest* were written before I was even in the band. Simon: It wasn’t super refined. Joe: Yeah. It was just throwing stuff out there. With *20X Multiplier* we had Simon in, so we had a core band that could find the sound. We tried a ton of different stuff. Now we’re at the point where we have something, but we’re still not there yet. **I know that Choncy is still questioning if there’s anything left to say in punk, but if you do have something you feel like you should say, what is it?** Joe: I could say all my slogans from the buttons I make for the merch table. “Citizens united.” Or, “Future Climate Refugee.” That’s the classic. Simon: My hot statement is that I think we should be rid of groups. I want people to stop calling themselves “punks” or “mods” or “tweeheads.” My message to the world is just be yourself. Stop trying to put yourself in a group that you don’t 100% identify with. Just be like us: we’re a kitchen sink. Nathan: We are Choncy. Simon: We are Choncy and so can be you. --- *Zach Mitchell, aka* [*@jorty\_spice*](https://www.instagram.com/jorty%5Fspice/?ref=see-saw.fun)*, is a member of the bands Big Clown and* [*Missed Dunks at Summer League*](https://misseddunksatsummerleague.bandcamp.com/album/fared-well?ref=see-saw.fun)*. He runs Machine Duplication Recordings and the newsletter* [*MDR Observer*](https://mdrobserver.substack.com/?ref=see-saw.fun)*.* *see/saw is a reader-supported independent music publication. If you enjoyed this piece, please share it and* [*subscribe*](https://see-saw.fun/a-big-clown-tour-diary-blood-insomnia-the-revenge-of-road-nachos/#/portal/)*.* ### punk this week: alien nosejob, downtown boys, debt rag + 12 more URL: https://see-saw.fun/punk-this-week-alien-nosejob-downtown-boys-debt-rag-12-more/ Last updated: 2026-06-27T19:52:47.000Z Hey, it’s [Punk This Week](https://see-saw.fun/tag/punk-this-week/), the punk and rock'n'roll recommendations column from see/saw. It’s been a busy week over here with the [Shop Talk chat](https://see-saw.fun/shop-talk-secret-they-dont-have-anything-to-prove/), [Kings Road Merch Union story](https://see-saw.fun/minneapolis-punks-voted-to-unionize-a-merch-warehouse-sony-music-plans-to-shut-it-down/), and [new episode of the podcast](https://see-saw.fun/punk-this-week-podcast-roberta-lips-non-plus-temps/). Now it’s time to talk about new records from Alien Nosejob, Downtown Boys, Debt Rag, CS Cleaners, Consensus Madness, and so many others. Do you crave a weekly guide to the best punk records? [Subscribe to see/saw](https://see-saw.fun/punk-this-week-pleasure-cube-gimic-osees-slippers-edging-15-more/#/portal/) for $4/month or $40/year or [barter](https://see-saw.fun/bartering/) (NOTAFLOF, hit me up). There’s plenty of stuff for free subscribers, but a paid subscription gets you weekly columns, the full radio archive, and the monthly bonus podcast about perfect punk records, [*see/saw jukebox*](https://see-saw.fun/tag/jukebox/). The next episode is coming very soon. see/saw subscribers help keep this operation, the writing and the podcasts, alive. Subscription money goes toward paying contributors. Thanks for supporting this reader-supported operation. Enjoy some sick records and have a nice weekend. --- **Alien Nosejob:** [***How a Mosquito Operates***](https://aliennosejob.bandcamp.com/album/how-a-mosquito-operates?ref=see-saw.fun) **\[Iron Lung/Anti Fade\]** Every blurb written about Alien Nosejob in the past five years by anybody with any sense of dude’s work gets into Jake Robertson’s pluralistic and prolific nature. Every blurb about *How a Mosquito Operates* is going to be about the short/fast hardcore approach and how much we all love Hardcore Jake—how that’s been true since the Iron Lung releases that preceded this record. Will any of us focus enough on how this often sounds like ’77 punk or Goner garage punk melodies amped way the fuck up and shouted over? Some facts are just unavoidable, though. Jake has long been the sort of artist who not only rips unreal solos when he feels like it, but writes genuinely classic songs. The shout-along nature of “The Executioner” already feels mythical, both in its subject matter and in its approach, and he keeps knocking them out of the park from there. Of course it’s a hardcore record, but what makes it special is the way the music fully departs the rails on “Nowhere to Go,” a track where his frankly bizarre screams sound like they’re being forcibly pulled out of him. All his guts are on the table across 17 turbo-charged bulldozers calibrated to spin your head around and around and around. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/06/a0824083409_10.jpg)](https://aliennosejob.bandcamp.com/album/how-a-mosquito-operates?ref=see-saw.fun) _This post is for paying subscribers only._ ### minneapolis punks voted to unionize a merch warehouse. sony music plans to shut it down. URL: https://see-saw.fun/minneapolis-punks-voted-to-unionize-a-merch-warehouse-sony-music-plans-to-shut-it-down/ Last updated: 2026-06-26T19:23:38.000Z Cesar Esparza started working at [Kings Road Merch](https://kingsroadmerch.com/?ref=see-saw.fun) over 12 years ago. This was well before the company was acquired by Sony Music—back when Esparza and the warehouse were both based in Los Angeles. “It was a place where punks got hired,” he tells me in the parking lot outside a punk show at a Minneapolis warehouse. Culturally, it makes sense that punks were drawn to Kings Road. It was founded by Epitaph Records and Bad Religion’s Brett Gurewitz, and it serves as the merch partner for some of the biggest punk bands going: Rancid, Touché Amoré, Descendents, Circle Jerks, Converge, Dropkick Murphys, the Chats, Refused, and Propaghandi, to name a few. When the Kings Road location in L.A. was shuttered about three years ago, Esparza was invested enough in the culture of his workplace to pack up his life and move his family to the Twin Cities rather than seek new employment. “There’s a certain pride that people take in working for Kings Road,” he said. “This sounds cheesy as fuck, but it's like a family.” Through this workplace, Esparza found a community—people who raised kids together and attended each other’s baby showers. When he thinks about the friendships he formed over the years at Kings Road, the one that looms largest is his late friend Bhed. “Rest in peace, he was an amazing fuckin’ person. Everybody had a great relationship with him. He was my fuckin’ homie. I brought a picture of him and put it in the \[Minneapolis\] office 'cause I felt like he should be a part of this place. When he was here, it was really good for all of us. He deserves a place in this company.” Workplaces can be complicated. “Personally, it feels like an abusive relationship,” Esparza said. Earlier this year, after discussing frustrations around pay and other issues, the workers voted unanimously to unionize earlier this year. Then, on the morning of June 23—hours before their first contract bargaining session—the union was informed by a lawyer representing Sony Music Entertainment of the company’s plan to shutter the warehouse in September. “While Kings Road remains an important part of our direct-to-consumer offering, we are focusing on our core strength of partnering with clients to develop and execute effective merch strategies,” a statement attributed to Sony Music reads. “With respect to the Minneapolis warehouse closing, Sony Music is committed to negotiating a fair separation arrangement with the Teamsters union representing the warehouse workers in compliance with all labor laws.” Kings Road Merch Union [released a statement](https://www.instagram.com/p/DaBGmWakY%5F3/?ref=see-saw.fun) on June 25 with their response to their bosses. “Let us be clear: this is a unionbusting tactic being used by Kings Road Merch owner Sony Music Entertainment. This will not stand in Minneapolis. Not right now; not ever,” the statement reads. “We demand that Kings Road Merch reverse their decision to close warehouse operations in Minneapolis, meet with our union to bargain for a contract, and get back to the work of making kickass merch. Unionbusting is not Punk Rock. Kings Road Merch can do better.” --- Greer is the frontperson and unhinged voice of the Minneapolis hardcore band [BUIO OMEGA](https://buioomega69.bandcamp.com/?ref=see-saw.fun). While she was looking for work in 2025, Will (from scene comrades [Shatter](https://desolaterecords.bandcamp.com/album/shatter-demo-2024?ref=see-saw.fun)) suggested she apply to the warehouse. She got the job, and within three months of working there, Kings Road was acquired by Sony Music’s music distribution subsidiary the Orchard. At the start of 2026, Greer and Esparza were among the workers noticing issues beyond their control within the workplace. “We were all kind of feeling like, ‘Damn, there’s some not-cool shit happening,’” Greer said. The biggest issue? “Pay,” they both said in unison. In addition to employees’ base pay being low, Esparza was shorted on paychecks after working overtime multiple weeks in a row following the change in management. “It just wasn't showing up until like a month later. I was consistently being told, ‘It’s getting fixed, it's getting fixed.’ And it wasn't. It was just like, *What the fuck, dude? Why am I doing this? Why am I spending time away from my family?*” While Esparza said he and others consistently received backpay to address discrepancies, it didn’t help morale that overtime money was delayed in the middle of a workload increase. “We inherited an entire label during busy season,” Greer said. They also noted the warehouse’s reliance on temp employees, who were contracted to work 40-hour weeks without the same benefits full-time employees receive. “The temps have way worse insurance,” Greer said. When one temp employee asked about a path to full-time employment in pursuit of better benefits, they were allegedly encouraged by someone in Sony’s PX department (their version of HR) to seek employment elsewhere if they were no longer satisfied by their situation. Just three weeks ago, when all full-time employees received raises and bonuses, temp workers did not. As a punk rock workplace in a city with a strong DIY scene, where organization is crucial, it’s natural that the workers started to organize. “We started meeting up and talking about it, bringing more people into the fold, moving in secret.” They organized with Teamsters Local 970, and in April, they went public as the Kings Road Merch Union. During this stage of unionizing, management at Sony Music had the opportunity to voluntarily recognize the union. “Naively, I thought they would,” Esparza said. “There’s other people who’ve been there over a decade besides me who’ve put in so many thousands of hours of our labor. Come Christmas time, we have to work mandatory overtime. We have families. I thought they’d recognize us out of respect for all that, but they didn’t. I was like, *Man, fuck these fools!*” A union election (the alternate path to recognition) was scheduled. In a [famously pro-labor city](https://www.minnpost.com/mnopedia/2023/09/the-history-of-labor-organizing-in-minnesota/?gad%5Fsource=1&gad%5Fcampaignid=9109082086&gbraid=0AAAAADo2Co9nSevCSCzu5VX0Fxo1SehSq&gclid=Cj0KCQjwo%5FPRBhDNARIsAEcVALWRdkYSuFj1jFpDPRNc0wCBpJ8aXbxhIhrOE7NCinb0vMafzkTF5ksaAvTrEALw%5FwcB&ref=see-saw.fun), Kings Road management regularly distributed literature around the workplace underlining the cost of union dues and the downfalls of organizing through the Teamsters. One handout titled “before you vote in the union election…Know the FACTS” made it known how management felt about the unionizing process: > *Your vote for the union DOES NOT mean: The Teamsters will deliver on any of its "promises." Despite what they promise, the law does not require the union keep its "promises," and the Teamsters cannot guarantee that they can deliver on any promise for improvement it made during the organizing drive.* “One of them was a big list of all the benefits, all the kind of nice things that we get, and it’s like, OK, slightly less than a quarter of the workforce \[the temporary workers\] can’t access those. And even with the nice benefits, I still am afraid to go to the doctor because I’m still getting paid so shit that even though we have ‘nice insurance,’ it’s still gonna cost me an arm and a leg.” Esparza also pointed out the “self-own” within management’s argument: “In two of the leaflets, they keep being like, ‘If you make $17.60 an hour, the Teamsters are gonna take a portion of your wage in dues.’ We’re like, *Dudes, why do you keep posting this shit wage? This shit sucks!*” Chad Reichow, their representative from Teamsters Local 970, claimed that workers at similar distribution facilities in Minneapolis are paid “much more.” For union recognition, just over half of eligible workers had to vote in favor. On May 11, workers unanimously voted for unionization. Now, just over a month later, their fight for a contract faces a significant obstacle with Sony Music’s stated intention to shutter the Minneapolis warehouse. Reichow said a lawyer representing Sony Music had previously floated the possibility of shutting down their Minneapolis location in the weeks surrounding the union election. “They told me there was a possibility of shutting down, they hadn’t made their decision yet. They said something along the lines of, ‘We don’t know how much money and resources you want to invest into something that’s not going to last.’” A closure was never formally or officially stated until Reichow was contacted by Sony Music’s legal representative on Tuesday morning. Kings Road Merch Union has full-on characterized Sony Music’s announcement as unionbusting. When asked if he agrees, Reichow replied, “I think it’s snakey as shit. It doesn’t pass the smell test.” The union faces new questions about the company’s future and the possibility of workforce reductions. Regardless of what happens next, they’ve made it clear that they’re still fighting. Reichow added: “They’re not closed until they close, so we’re going to keep moving forward with the process.” “When Sony took over, they broke everything,” Esparza said. “The workers at Kings Road made sure that the warehouse functioned amongst the chaos that Sony Music created. If we don’t want this warehouse shut down, we need to fight for that.” Aside from the on record statement, Sony Music offered no additional comment. --- Work in the warehouse can be monotonous, and it’s certainly not as glamorous as designing your own band’s merch. “It’s a lot of taking T-shirts out of one box and putting T-shirts in another box,” Greer said. Ultimately though, it’s a rare music industry position in an even rarer punk-coded workplace. Greer is a student of punk shirts throughout the genre’s illustrious history, which attracted her to this job to begin with. “I was excited to work for a merch company, but I do feel like because of the cool punk veneer, it can take you in and exploit you. The company’s like, ‘You get to ship out L7’s merch, you love L7!’ And I get to send packages to L7, that’s tight! But man, dude, I’m still not getting paid a living wage.” One of Kings Road Merch’s biggest clients is Dropkick Murphys, who performed a national Teamsters event in Las Vegas just this month. Greer didn’t love interfacing with KRM’s merch designs for the band in the context of the workers’ day-to-day reality. “I was just like, *Damn, we’re sitting here folding these Union Strong, For the People shirts and we don’t have a fucking union. It was very demoralizing, folding those knowing that we didn't get paid our full hours today.*” In an Instagram comment responding to this story, Dropkick Murphys voiced their support for the union: “We stand with you all. Thank you for all you’ve done for us all these years.” The union hopes that artists and their fans can lend their support in the face of a potential shutdown. see/saw reached out to multiple bands whose merchandise is designed, printed, and shipped by Kings Road Merch for comment about Sony Music’s announcement on the union’s first day of bargaining. At publication time, those artists have either declined to comment or have yet to respond. The Casualties are among the artists on the Kings Road Merch roster; guitarist Jake Kolatis shared the union’s statement on his Instagram stories with this note: “Worth the read.” --- *This story has been updated to reflect Dropkick Murphys’ statement in support of the union.* ### shop talk’s secret? they don’t have anything to prove. URL: https://see-saw.fun/shop-talk-secret-they-dont-have-anything-to-prove/ Last updated: 2026-06-24T20:58:53.000Z Jon Garcia and Tristan Griffin of Brooklyn’s [Shop Talk](https://shoptalktheband.com/?ref=see-saw.fun) enter a bar like they enter a song—headlong, without hesitation, and in unison. Shop Talk’s music is *fast*, not speed metal fast (thank god), but fast like Rat Fink’s infernal racer—blurred wheels, scorched eyelids, exhaust pipes spurting flames. They’re songs for shoving your neck out of car windows. Shop Talk’s [first full-length](https://shoptalk.bandcamp.com/album/s-t?ref=see-saw.fun) came out in March, and it’s a 30-minute crash course in everything that rules about punk rock. There’s the Pretenders’ melodies, thundering hooks that Ty Segall could envy, and the Clash’s fucking *sneer*. But all this through a viewpoint, sound, and style that is undeniable and uniquely their own. Jon and Tristan both have backgrounds in literature, as is apparent in the razor wire wit and jet-black humor of Jon’s lyrics, and this literary approach gives the band an ability to craft tunes that broadcast from an alien space. It is the history of punk rock from another planet crashing into you at 10,000 miles per hour, so it’s in pure form when the moment I sit down at the Bedstuy bar where we’re set to meet, four legs four arms and two heads fly through the door. There’s a flurry of handshakes and a barrage of smiles and laughter, and immediately we’re cool. We’re moving. We’re grabbing a table in the back. The instant we sit down, as Jon checks his phone before turning it off. --- Jon Garcia: Alexander \[Perrelli\] who played on the album just texted us saying he listened to the record for the first time today. Like *this moment* he’s like “thank you so much for making this happen, that’s all I can say right now.” Tristan Griffin: That’s amazing. **You just got that text?** Jon: I swear to god, seconds ago. **That’s beautiful.** Jon: Isn’t that nice? It may be fated. **How did you find Alexander?** Jon: I’ve been doing Shop Talk for a frighteningly long time, butvery much under the radar. Alexander was actually involved before Tristan, I want to say 10 years ago give or take? It was kind of my recording project. I had been playing in a band that broke up and I started writing all these songs and I kind of wanted to front a project and was figuring out what I was doing slowly and learning as I went. But Alexander was actually the first person I played with all those years ago. In the beginning it was just me and him. I made some demos where I played guitar and bass and stuff. Tristan: I started playing with you at least four years ago, when he was still involved. Eventually you know, \[Alexander\] is married and he’s a visual artist, and he wanted to get back into visual art. And you know we’re not young men any longer \[*laughs*\], we’re all touching the 40s, and he’s focusing on his visual art right now. Jon: Tristan’s actually our third bass player, and we’d been doing this kind of in obscurity, and by the time Tristan got involved we had this huge backlog of songs. There are songs on the record that are like nine or 10 years old. I had been sitting on this stuff and hadn’t found the right opportunity to put it down, or like hadn’t found the right collaborators. But then I met Tristan at TV Eye. It was right after COVID, the city was starting to reopen, people were back at work, people were going into bars again, people were starting to take their masks off. It was that moment. And we met through some mutual friends at TV Eye and had one of those drunk 3 a.m. conversations like, “We should play music together!” and bizarrely wound up doing it. Tristan: I had been going to TV Eye probably since it opened because we had mutual friends who ran the place. I was living right over there at the time, so I was going over to TV Eye a bunch and me and Jon started getting to know each other. And every time I came in it would be big hugs, and we would start hanging out. Jon: We would talk shit about music, we just got on right away. Tristan: We started being really good friends and every time I walked through the door it would be like “Ayyy!” and the conversation would progress and progress and progress. Jon: Jeff Berner \[bassist for Psychic TV and bassist of Shop Talk at the time\] had a young daughter, and COVID had changed things. We weren’t playing gigs at that point. And things started to reopen, and me and Alexander wanted to play and \[Jeff\] said, “Look, my daughter is too young to get vaccinated, so I can’t really play shows for a while.” So it was around that time, we’d been offered a couple of shows I really wanted to do, and again, fate conspired… Tristan: Which it often does. Jon: Tristan rolled into TV Eye and then we started bullshitting and I was like, “What are you doing on the 23rd? Do this fucking show at Saint Vitus. Do you want to learn some songs real quick?” **Did you know about Shop Talk before that?** Tristan: No, never heard of it. Jon: No one knew about Shop Talk! I could count on my hands the people who knew about Shop Talk. Tristan: A lot of the stuff on this album Jon had written before I was even involved, and so when he sent me stuff I was like, “Hey, look, I like where you’re coming from, I like the songs you’re writing, it works with what I’m doing and what I like.” So we jelled immediately. Jon: There was a sense of it being my project, and I had some talented friends who were willing to play with me when our schedules allowed. And when Tristan got involved, it changed. It really became more collaborative, and also there was the sense that it wasn’t just one guy pushing the boulder up a hill or something. He was in it, like, “I want to tour, I want to make records, let’s do this!” And obviously I’d been wanting to do that the whole time, I just hadn’t been in a position where that felt possible, you know? Tristan: Yeah. Jon: And when we decided to actually do this, like, “Let’s do this band,” it started to come together really quickly. We put out an EP, went on tour with Algiers, who were friends of Tristan’s and became really close friends of mine, too. And we just started to double down on this. **I want to talk about your song “Love Dart.” This is wild, but “love dart” has been my password since college.** Jon: Woah, crazy. **I’m an insect guy.** Jon: Yes, slugs! **Is that what it is?** Jon: Yes and no. I’m aware of slugs… Tristan: I too have seen a slug. Jon: I’m aware of slugs having love darts \[*author’s note: go research love darts and slug sex*\], and I think it’s a humorous title. But the jumping off point for that one is this James Joyce short story called “An Encounter.” There’s a scene in that that was the jumping off point for the song: these two young boys skip school, and they’re in a park, and they come across this kind of creepy old man who’s like giving them a lot of unsolicited advice about love and relationships. The story is written from the perspective of one of these kids, so the narrator doesn’t necessarily understand what’s happening all the time. At one point this old man is probably masturbating in the bushes, he’s not necessarily a role model or a trustworthy advisor, but he has no problem giving them a lot of advice about relationships and about love, and they’re kind of creeped out and they don’t know what to do. It’s this darkly comedic scene. And at one point he says, “Every boy needs a sweetheart,” which made its way into the song. So I’m imagining this monstrous fucked up old man telling some little kids what’s what, that’s kind of the tone of the song for me. And the title “Love Dart” came after everything was finished. So yeah, slugs, but to me that kind of underscores the idea of the song. Love is inherently violating, in a way. It’s not something that starts internally. It’s not a choice. It’s something you fall into. Or if you take the mythology surrounding cupid—which, by the way, is pretty weird—you get darted. Something a veterinarian does to an ape. You get *darted*. You *fall* in love. It’s something that external forces do to you. And it doesn’t always go so well. And this old man, monstrous as he is and untrustworthy as he is, isn’t necessarily wrong when he’s telling these kids to be careful, to be careful with your hearts. **Are those the kinds of songs you’re drawn to—the cautionary tale?** Tristan: I feel like half of all love songs are cautionary tales. Jon: That’s true. That’s very true. Tristan: And I love love songs. If you look at it in the right light almost everything’s a love song. Jon: I think I can name one song of ours that isn’t a love song. And it makes me worry a little bit, that I need to move on, or maybe this sort of character needs to be retired. Tristan: I disagree! Literally everything if you look at it the right way is a love song. Literally everything. Jon: Yes! Yes yes yes. It doesn’t have to be amorous… Tristan: Not romantic love, but everything’s a love song. What are we if we’re not fucking love? Doing our best to fucking find any version of that that we can? Whether it be love, whether it be stability, whether it be something that speaks to you. Jon: You make a good point about a cautionary tale. “Mirage of Love” is not exactly a cautionary tale, but it has “love” in the title. Tristan: That’s a good link. \[laughs\] Jon: I mean, I think that is a song that is to some extent tied to the Ramones song “53rd & 3rd,” so it’s a bit of a New York thing. Like the La Fata Morgana, the sorceress who lures sailors to their death by seducing them with false visions and things. So the song is really about this character who is mad that he hasn’t been picked, in the way Dee Dee was, like in their song: “trying to turn a trick, you're the one they never pick,” and then he murders the guy who picks him. And clearly he’s very conflicted, he doesn’t want to be picked but also he’s mad he hasn’t been picked. In “Mirage of Love,” the character understands that being seduced by Morgana means him dying for something false, but he’s offended that she hasn’t bothered to try to seduce him. That’s what the song is about, which is a very Dee Dee concept. Tristan:That was some of our first experiences writing together. Not the lyrics, Jon writes all the lyrics, but musically. Our writing process together is very good actually. A lot of time in a room being like, “do you have an inroad to this, do you have an inroad to this? Do you want to work on this?” Taking it away, bringing it back, hours and hours of back and forth. Jon: For a long time, I would just present finished things to whoever was willing to play gigs with me. When Tristan got involved, it became more about cycling through ideas, kicking it around together. It became less lonely. Tristan: We very quickly established a trust together, musically, through songwriting, and just in general, as people. We love each other. We are able to bring stuff in and work together without having this ego about it or being precious about it. Jon: Really, I think that this is rare. I think this is actually honestly precious and not normal? I think there is a level of trust between us that when we’re collaborating on something, we’re really just trying to make it as good as we can make it. It’s not about ego. It’s not like “this is the best idea because it’s mine,” it’s like we’re just trying to make it great. We’re fairly honest about being in pursuit of that. **Is that because this band is happening now at a point in your lives where you’re ready, or is it happening because it’s you both?** Tristan: Maybe it’s because we’re older and maybe we don’t have that ego and need to be like, “This is mine, this is me proving myself.” Jon: Right. Tristan: We’ve proved ourselves in different parts of our lives. We have enough self-awareness, and we each have enough sense of self, from being older. Jon: I think it’s because we have fairly similar tastes. Tristan: And the flip side of that is I think it’s because it’s *us*. We do have a lot of the same tastes, we have a lot of the same standards of what makes something great. We see eye to eye on a lot of stuff. And there’s a certain chemistry even interpersonally that translates to the music. I think it’s both. Maybe when we were younger we might have butted heads more because young people have something to prove. I’m too old to have something to fucking prove, dude. Jon: One hundred percent. Tristan: Rather than proving something, I’d rather be in a band that I’m happy with—with a person I like working with, striving after something great—rather than striving after trying to be the guy. --- *see/saw is a reader-supported publication. If you enjoyed this interview, please share and* [*subscribe*](https://see-saw.fun/#/portal/)*.* ### punk this week podcast: roberta lips + non plus temps URL: https://see-saw.fun/punk-this-week-podcast-roberta-lips-non-plus-temps/ Last updated: 2026-06-30T20:31:53.000Z [Punk This Week](https://see-saw.fun/tag/podcast/) *is see/saw’s weekly podcast from co-hosts Evan Minsker and Nina Corcoran—a discussion of the latest and greatest in the world of punk rock. We talk about six new punk records we’re loving from the past week. Ad-free and bonus episodes are available only to paid* [*see/saw subscribers*](https://see-saw.fun/punk-this-week-podcast-buckets-cherry-cheeks/#/portal/)*with the link at the bottom of this page!* As Midwestern punk podcasters who love snacks, we finally talk about Culver’s and chalky candies. Nina introduces Evan to Sky Bar, who immediately creates the Sky Bar Challenge. This time we discuss new records by [Roberta Lips](https://robertalips.bandcamp.com/album/coup-de-bluff?ref=see-saw.fun), [Non Plus Temps](https://siltbreeze.bandcamp.com/album/non-plus-temps-conditional-bunker-lp?ref=see-saw.fun), the [Annabel and Calendars split](https://annabel.bandcamp.com/album/annabel-calendars-split?ref=see-saw.fun), [L.O.T.I.O.N.](https://lotionmultinationalcorporation.bandcamp.com/album/machine-hallucinations?ref=see-saw.fun), [Quitters](https://painterstapes.bandcamp.com/album/quitters?ref=see-saw.fun), and [Body Suit](https://bodysuit.bandcamp.com/album/suited-n-booted?ref=see-saw.fun). --- If you like this podcast, please leave us a review + share it + subscribe! *Punk This Week* is a [Ruinous Media](https://www.ruinousmedia.com/?ref=see-saw.fun) podcast; thanks to Ruinous for their support. Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.funhttps://feeds.captivate.fm/punk-this-week/). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/see%5Fsaw.fun/?ref=see-saw.fun) and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). Have a question you’d like to hear addressed on the show? Want to talk about a new record we didn’t discuss? Want to send a HARD PIVOT bumper? Join us on the see/saw [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun) or email us: [see-saw@see-saw.fun](mailto:see-saw@see-saw.fun). *Punk This Week* is made possible first and foremost by see/saw subscribers. Please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-buckets-cherry-cheeks/#/portal/) if you enjoy this podcast. You’ll get ad-free and bonus episodes, plus the weekly [Punk This Week column](https://see-saw.fun/tag/punk-this-week/) and the [see/saw radio](https://see-saw.fun/see-saw-radio/) archive! _This post is for paying subscribers only._ ### punk this week: l.o.t.i.o.n., non plus temps, mirage, ekgs + 14 more URL: https://see-saw.fun/punk-this-week-lotion-non-plus-temps-mirage-ekgs-14-more/ Last updated: 2026-06-21T20:11:57.000Z Hey, it’s [Punk This Week](https://see-saw.fun/tag/punk-this-week/), the weekly punk and rock’n’roll recommendations newsletter from see/saw. Happy Juneteenth and Father’s Day weekend. What do you want to help you through the weekend? Dystopian industrial cyberpunk? Beefy Italo punk? Unhinged Pittsburgh hardcore? Country-tinged Detroit garage punk? Completely inexplicable Oakland art punk by members of Famous Mammals? It’s all that and more on a new installment of the column. What’s the deal with this column? The first blurb’s free for everyone, but to get all the weekly recommendations, you’ll have to subscribe [to see/saw](https://see-saw.fun/punk-this-week-cherry-cheeks-oddfellows-deadbeat-beat-14-more/#/portal/) for $4/month or $40/year or [barter](https://see-saw.fun/bartering/) (NOTAFLOF, hit me up). A paid subscription also gets you weekly columns, the full radio archive, and the monthly bonus podcast about perfect punk records, [*see/saw jukebox*](https://see-saw.fun/tag/jukebox/). It’s a nice thing, [subscribing](https://see-saw.fun/#/portal/) to an independent and very niche music journalism outlet. The state of the industry is grim. I’ve been doing see/saw as a passion project for over two years and, as of this one that you’re reading now, 350 posts. I’m in a rhythm with it that I like, and I’m excited for people to learn about sick bands. Thanks for your support; go explode your ears with angry music. --- **L.O.T.I.O.N. Multinational Corporation:** [***Machine Hallucinations***](https://lotionmultinationalcorporation.bandcamp.com/album/machine-hallucinations?ref=see-saw.fun) **\[Static Shock\]** There’s something fitting about L.O.T.I.O.N. being the heralds of the contemporary digital blight we find ourselves wading through. This is industrial cyberpunk informed by techno and produced (by Uniform’s Ben Greenberg) to sound overwhelming and massive. The Corporation have hit a point where they’re knocking on nu-metal’s door, harkening to an era of post-apocalyptic films dressed up in long leather trenchcoats. *Machine Hallucinations* is about the decimation of the environment, how the ultra-rich are turning the rest of us into dollars and cents, ICE raids, genocide, and society’s long gradual poisoning (literal and metaphorical). “Absolute Insanity” merely asks that you peep that title’s initials as it offers this very real insight: “Burning the forests for pictures of trees.” Living in the future sucks shit, but this is high camp cyberpunk analysis of the moment sounds fantastic loud. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/06/a2489592441_10.jpg)](https://lotionmultinationalcorporation.bandcamp.com/album/machine-hallucinations?ref=see-saw.fun) --- _This post is for paying subscribers only._ ### media puzzle trot new land beyond the big log URL: https://see-saw.fun/media-puzzle-trot-new-land-beyond-the-big-log/ Last updated: 2026-06-17T12:59:36.000Z Looking down at the racetrack, there’s a clear frontrunner for the top spot in the track. Media Puzzle have put their best hoof forward with their LP [*New Racehorse*](https://mediapuzzle.bandcamp.com/album/new-racehorse?ref=see-saw.fun), put out on Impressed in April. It’s an ocean of chorus-drenched riffs and tight production playing over endless samples that come in and out like you’re changing between radio stations. The album takes the best bits of what this stolen country has put forward in recent years while adding so many surprises; it’s easily the front runner for best use of horns in punk this year. It’s a record that fully deserved to quickly sell out its first run. Initially starting as a solo project of Tom Peter, the formerly Lismore band has expanded to a full five piece lineup that’s been putting on one of the most dynamic live shows the country has to offer. I first saw the full band at the mini festival Summer Slam and they took the champion belt that day as they swapped between acoustic and electric drums seamlessly, singing their sweet songs through a chorus of telephone microphones haphazardly taped to the mic stands. Since then, a majority of the band has relocated to Naarm (Melbourne), where this interview took place. I had a lovely chat with Tom at Candy’s in Thornbury, a nice cafe that’s opened up in the same building that used to host the excellent record store Lulu’s. The band are in the process of writing their next record while preparing to release a new single off an upcoming compilation. --- **I’m guessing from the samples that you’ve spent a lot of time watching old movies on YouTube. What are’s the best sources you’ve found for samples?** It’s a mix. There’s a bunch on YouTube, there’s a bunch on [archive.org](http://archive.org/) which I reckon is the best one. You can find a bunch of old archival radio recordings on there. And then there’s another website I’ve found where you just write in a word and it’ll give you a list of movies and TV shows where they’ve said that phrase or sentence. That’s where I got a lot of the samples for in between songs, which was really fun to go searching for. **Media Puzzle are a very equestrian-based band; you’re named after the 2002 Melbourne cup winner and with many references to stallions in the lyrics. Have you always been obsessed with horses or did it come from the name?** It came with the name. I got it from the band Vintage Crop, which was another horse that won the Melbourne Cup. At first I didn’t know where the name came from and thought it was just a cool name, so I searched up Vintage Crop just because I wanted to know what it meant and saw it was a horse that won the Melbourne Cup. I ended up looking through the list of other horses that had won and found Media Puzzle. I then kinda built the project on horses, so I guess the obsession came after rather than before. It gave the band a theme. **It’s a great theme for a band!** Absolutely, I’m sure you know all about it. \[*Ed. note: Billiam is in a similar horse-themed band. With Media Puzzle now largely being based in Victoria, this means there are three active horse themed bands in the city.*\] **The band started in Lismore, NSW. What would you recommend people do if they find themselves in Lismore?** Go to the Pie Cart on Magellan Street. They’re really good pies. They sell shirts and everything; it’s kind of a tourist attraction. Otherwise you can go look at the Big Log. It’s literally just a log, but it’s massive. **Did they purposefully design a big log or did they just find it?** I think it’s just a leftover log. Lismore used to be a logging town. They’ve built a roof for the log and it just sits there. ***New Racehorse* is a shift from the previous releases, adding things like live drums and brass. Was this a conscious decision to do something different or did the songs naturally evolve to be different from the previous releases?** It was definitely a choice I made. I got through the last EP and the last album and I was getting sick of the same sound. I thought I could either try and improve and refine what I already had, or I could take the easy route and completely change everything. So I decided to do that instead. **It sounds really natural, like a logical conclusion from the last couple of albums** It didn’t sound like it for a long time, then I sat with it in my head for a long time and now I agree with you. If you had asked me that question six months ago, I would not have agreed with you at all. **Did the live band have more input while recording this one?** Totally. It’s still mainly all me but it’s the most collaborative release so far. **Did you jam the songs with the band before recording them or did you give them completed parts to play?** Bit of both. We’d been playing songs like “Knowledge” for six months before we sat down and did the drum tracking. There were definitely some moments in that song and a couple others where some of the band members were able to work out their own parts that they liked more than what I’d given them, and the songs are better because of that. **I love “Knowledge” so much, especially Kellie’s brass. Did you know she could play brass before she joined the band?** I knew she played, but we were playing for ages without her playing trumpet, then I went down a bit of a ska rabbit hole briefly and kept thinking how trumpets are fucking great and thought why not add them? It felt silly not to have the trumpet if she can play it. **Where do songs usually start for you?** It’s always been with a guitar part, but as of this album, it’s been so many different things. Some of them start with the bass, some with the guitar, some with the lyrics, some with the song names. I’ve been doing that on purpose just to keep the writing interesting. It’s made everything feel different to the previous stuff. **What do you consider to be the hardest part of finishing a song?** I always write a verse or a chorus, but never both in one sitting. The hardest part is writing that second part. Because you’ll get that first idea or first verse that you love, and then trying to get that next section you love is always the hardest part. It can be days or weeks or months before I get it sometimes. It’s so frustrating, but once you get it, it feels amazing. Once I have two main sections, I’m able to build everything else around that. **One thing I want to highlight to the readers is how tight a live show you guys put on. Are you particularly rigid with rehearsals or is it a looser affair?** I’d like to say we’re lazy. We usually just run through the set once or twice and maybe go back to a few songs we might need to get better at… but everyone puts in a lot of time outside of the rehearsal room tightening their parts, so once we come into the rehearsal room, we’re able to just play it together and lock in all at once. **Is there a piece of musical gear you’ve always wanted to add to the Media Puzzle repertoire?** I’d love to have more brass. I’d love to add a sax at some point, even a little SP404 to do even more of the sample stuff live. We do some of it live but there are little bits we could add. We have one sampler next to the drummer but we could always do more. **It would be sick to see you guys with a full brass section like the Saints.** That would be so cool, but we gotta pay other musicians properly if we want to do that. **It’s a tricky line to balance between more members and splitting the $300 paycheck each night.** It’s nearly impossible unless people want to play for free, which is not fair. ![Media Puzzle, photo courtesy the artist](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/06/2.jpg) Media Puzzle, photo courtesy the artist **You just completed a tour of Australia with Regurgitator. What were your favourite shows from the run?** I think Canberra was a standout. It was a full room and people were getting into it. My favourite show was Brisbane at the Tivoli. That was the most amount of people I’ve ever played to and everyone was really friendly. **I think with a lot of those ’90s bands them and their audience tend to not give a lot of attention to the opener, so it was great to see people getting around your set.** Absolutely, we were very lucky to be doing it with an insanely renowned Aussie band. **A lot of the band have just moved to Melbourne with Oli moving to Sydney. What are some things you’re looking forward to doing with the change in scenery?** Playing more and going to and seeing more of other people’s stuff. That was the whole reason for the move. As much as we all love Lismore, it’s very much a rural town, opportunities are very limited and this project has taken up a lot more time than I thought it ever would (and I say that in the best way possible). At this point, the only next thing for me to do is to move somewhere with more. I just want to go and watch more bands and meet more people. I feel like I was getting quite comfortable in Lismore. I want to be uncomfortable again and be surrounded by people I don’t know in a place I don’t know. --- [*Billiam*](https://hiimbilliam.bandcamp.com/?ref=see-saw.fun) *is a recording artist operating out of Naarm (Melbourne). see/saw is a reader-supported publication. If you enjoyed this article, please share and* [*subscribe*](https://see-saw.fun/#/portal/)*.* ### punk this week podcast: buckets + cherry cheeks URL: https://see-saw.fun/punk-this-week-podcast-buckets-cherry-cheeks/ Last updated: 2026-06-16T21:29:20.000Z [Punk This Week](https://see-saw.fun/tag/podcast/) *is see/saw’s weekly podcast from co-hosts Evan Minsker and Nina Corcoran—a discussion of the latest and greatest in the world of punk rock. We talk about six new punk records we’re loving from the past week. Ad-free and bonus episodes are available only to paid* [*see/saw subscribers*](https://see-saw.fun/punk-this-week-podcast-gimic-edging/#/portal/)*with the link at the bottom of this page!* Don’t go down to the basement (to watch D. Sablu) while the Knicks lock down their historic game four comeback. Two decadent desserts: butterscotch budino and Stuf of Doom Oreos. We stan toot meme kings [Miles Davis](https://bsky.app/profile/jesseraub.online/post/3mni2a2iopc2n?ref=see-saw.fun) and [Victor Von Doom](https://www.polygon.com/comics/2020/5/4/21246325/doctor-doom-toot-horn-meme-marvel-comics-namor-spider-man-electric-company/?ref=see-saw.fun). We’re mall walking, we’re demanding some globes (again), and we’re talking about new records from [Buckets](https://bucketsband.bandcamp.com/album/horse-to-water?ref=see-saw.fun), [Cherry Cheeks](https://totalpunkrecords.bandcamp.com/album/d-o-the-bytes-lp?ref=see-saw.fun), [Potluck!](https://forfunn1.bandcamp.com/album/no-more-flowers?ref=see-saw.fun), [Finale](https://finalevlc.bandcamp.com/album/yo-yo-ep?ref=see-saw.fun), [Reveal Yourself](https://revealyrself.bandcamp.com/album/love-deluxe?ref=see-saw.fun), and [the Sex Shoppe](https://ragdollrecords.bandcamp.com/album/the-sex-shoppe?ref=see-saw.fun). --- If you like this podcast, please leave us a review + share it + subscribe! *Punk This Week* is a [Ruinous Media](https://www.ruinousmedia.com/?ref=see-saw.fun) podcast; thanks to Ruinous for their support. Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.funhttps://feeds.captivate.fm/punk-this-week/). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/see%5Fsaw.fun/?ref=see-saw.fun) and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). Have a question you’d like to hear addressed on the show? Want to talk about a new record we didn’t discuss? Want to send a HARD PIVOT bumper? Join us on the see/saw [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun) or email us: [see-saw@see-saw.fun](mailto:see-saw@see-saw.fun). *Punk This Week* is made possible first and foremost by see/saw subscribers. Please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-gimic-edging/#/portal/) if you enjoy this podcast. You’ll get ad-free and bonus episodes, plus the weekly [Punk This Week column](https://see-saw.fun/tag/punk-this-week/) and the [see/saw radio](https://see-saw.fun/see-saw-radio/) archive! _This post is for paying subscribers only._ ### punk this week: cherry cheeks, oddfellows, deadbeat beat + 14 more URL: https://see-saw.fun/punk-this-week-cherry-cheeks-oddfellows-deadbeat-beat-14-more/ Last updated: 2026-06-12T21:09:45.000Z Hey, it’s [Punk This Week](https://see-saw.fun/tag/punk-this-week/), see/saw’s weekend round-up of the best new punk and rock'n'roll records. This time we’ve got an exceptional new album from Portland’s Cherry Cheeks, the decades-belated return of Denton’s pre-Reds/Marked Men band Oddfellows, some garage pop greatness from Detroit’s Deadbeat Beat, new singles from Artificial Go and Odor Eater, an EP you absolutely don’t want to miss from Finale, and so much more. Want a weekly guide to the good stuff in your inbox each week? [Subscribe to see/saw](https://see-saw.fun/punk-this-week-pleasure-cube-gimic-osees-slippers-edging-15-more/#/portal/) for $4/month or $40/year or [barter](https://see-saw.fun/bartering/) (NOTAFLOF, hit me up). There’s plenty of stuff for free subscribers, but a paid subscription gets you weekly columns, the full radio archive, and the monthly bonus podcast about perfect punk records, *see/saw jukebox*. The latest is [our chat with DEVO’s Gerald V. Casale](https://see-saw.fun/see-saw-jukebox-devos-gerald-v-casale/). Reader support is the engine keeping this jalopy chugging. Subscription money goes toward paying writers and photographers; it’s the primary way to support the weekly *Punk This Week* podcast. Thanks for supporting this independent operation, now soundtrack your weekend with one of these wild new records. --- **Cherry Cheeks:** [***D.O. & The Bytes***](https://totalpunkrecords.bandcamp.com/album/d-o-the-bytes-lp?ref=see-saw.fun) **\[Total Punk\]** Kyle Harms’ first [Cherry Cheeks album on Total Punk from 2021](https://totalpunkrecords.bandcamp.com/album/cherry-cheeks-s-t?ref=see-saw.fun) was a classic—a no-skips collection of punk songs that were vibrant, bouncy, and had just enough edge. It was a rock’n’roll star turn for the Portland punk, resulting in “artist to watch” status. The 2023 follow-up [*CCLPII*](https://totalpunkrecords.bandcamp.com/album/cclpii?ref=see-saw.fun)was solid, but every time I put it on, I wondered why I wasn’t just listening to the 2021 album. The songwriting was solid, but I ultimately preferred the old stuff. The new album *D.O. & The Bytes* has done the unthinkable—it’s a new Cherry Cheeks album that easily stands as their best work yet. The new one begins with the opening rumble and instant pop stickiness of “D.O. Theme,” an incredibly strong start for a record with narrative ambitions. D.O. is the hero and the Reapers are after him. It’s a record about dehumanization (“you’re just a dataset”), falling in love with a chatbot (“we’ll shoot the shit all day”), and surveillance (“if you’ve got nothing to hide/you won’t mind these spying eyes”). You can pretty neatly split this album into hero songs—ecstatic and sugary—and the more dark, synth-forward villain tracks. The hooks are phenomenal on every single track and the narrative never thwacks you over the head with exposition. Up until *D.O.*, every Cherry Cheeks full-length has felt like one you could play on shuffle. This is a true start-to-finish turntable-ass album and an impressive step forward for the Cheeks. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/06/a3855993175_10.jpg)](https://totalpunkrecords.bandcamp.com/album/d-o-the-bytes-lp?ref=see-saw.fun) --- _This post is for paying subscribers only._ ### punk this week podcast: gimic + edging URL: https://see-saw.fun/punk-this-week-podcast-gimic-edging/ Last updated: 2026-06-09T21:47:07.000Z [Punk This Week](https://see-saw.fun/tag/podcast/) *is see/saw’s weekly podcast from co-hosts Evan Minsker and Nina Corcoran—a discussion of the latest and greatest in the world of punk rock. We talk about six new punk records we’re loving from the past week. Ad-free and bonus episodes are available only to paid* [*see/saw subscribers*](https://see-saw.fun/punk-this-week-podcast-eddy-current-suppression-ring-hillsboro/#/portal/)*with the link at the bottom of this page!* Evan and Nina discuss how many boxes of Cracker Jacks we’re putting down in a given year, New England-exclusive seltzer flavors, why all punk bands should be sending out fan club cards, and some great new records by [Gimic](https://drunkensailorrecords.bandcamp.com/album/new-traditions-lp?ref=see-saw.fun), [Edging](https://edging.bandcamp.com/album/unload-your-shame?ref=see-saw.fun), [Pleasure Cube](https://pleasurecube.bandcamp.com/album/big-doses?ref=see-saw.fun), [Gripe](https://bozosdistro.bandcamp.com/album/world-war-gripe?ref=see-saw.fun), [TANO!](https://tanoduo.bandcamp.com/album/danses-a-la-disc-rdia?ref=see-saw.fun), and [Prisão](https://prisao.bandcamp.com/album/na-o?ref=see-saw.fun). (A bonus shout-out to [Teathing](https://teathing.bandcamp.com/album/demo-26?ref=see-saw.fun), [Osees](https://ohsees.bandcamp.com/album/off-course?ref=see-saw.fun), [Slippers](https://slipperssss.bandcamp.com/album/slippers-08?ref=see-saw.fun), and [Rejecter](https://antisocialnoiseattack.bandcamp.com/album/what-remains?ref=see-saw.fun).) Be sure to check out the new episode of [*see/saw jukebox* with DEVO’s Gerald V. Casale](https://see-saw.fun/see-saw-jukebox-devos-gerald-v-casale/)! --- If you like this podcast, please leave us a review + share it + subscribe! *Punk This Week* is a [Ruinous Media](https://www.ruinousmedia.com/?ref=see-saw.fun) podcast; thanks to Ruinous for their support. Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.funhttps://feeds.captivate.fm/punk-this-week/). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/see%5Fsaw.fun/?ref=see-saw.fun) and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). Have a question you’d like to hear addressed on the show? Want to talk about a new record we didn’t discuss? Want to send a HARD PIVOT bumper? Join us on the see/saw [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun) or email us: [see-saw@see-saw.fun](mailto:see-saw@see-saw.fun). *Punk This Week* is made possible first and foremost by see/saw subscribers. Please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-eddy-current-suppression-ring-hillsboro/#/portal/) if you enjoy this podcast. You’ll get ad-free and bonus episodes, plus the weekly [Punk This Week column](https://see-saw.fun/tag/punk-this-week/) and the [see/saw radio](https://see-saw.fun/see-saw-radio/) archive! _This post is for paying subscribers only._ ### shaved ape on the punk mentors who changed his life URL: https://see-saw.fun/shaved-ape-on-the-punk-mentors-who-changed-his-life/ Last updated: 2026-06-08T23:07:18.000Z Clocking in at less than 11 minutes long, [*Loveletter to Hardcore*](https://sorrystaterecords.bandcamp.com/album/loveletter-to-hardcore?ref=see-saw.fun) is a spirited collection of songs recorded in a basement in Braddock, PA on a 4-Track recorder that radiates the infectious joy of hardcore punk. Its blistering speed and youthful energy are amplified by the cover image—a young Riky Barnes soaring midair on a skateboard with a huge grin on his face. The [Sorry State](https://www.sorrystaterecords.com/?ref=see-saw.fun)\-released vinyl’s A-side is newer material from Shaved Ape while the B-side is the previously released demo. There’s something charming about the dip in audio quality in the back half, as if the listener is digging further back into the older 7-inches during a nostalgic night with a turntable. It’s the sound of skate videos, sweaty VFWs and basements, an image of sweaty freaks pumping their studded cuffs in a blurry fury. While it does effuse a youthful joie de vivre, Shaved Ape is the solo project of a veteran punk, Vince Klopfenstein. As a drummer and guitarist Vince has been a part of the bands Sickoids, Loose Nukes, Kim Phuc, White Stains, and G.U.N., to name a few from his repertoire. Klopfenstein spent his teen years outside of Normal, Illinois, and has lived in Philadelphia, Los Angeles, and for the last decade, Pittsburgh. All the while, he’s been making and enjoying hardcore punk. His house is full of fliers, show posters, and an impressive collection of records. When he’s not rocking, he’s working as a carpenter doing gigs like building CD storage for local record stores. Shaved Ape was never supposed to be a live band. In 2022, it was just a fun excuse for Vince to mess around with a four-track at home. But when Sorry State was celebrating its 10 year anniversary, they requested a live Shaved Ape performance, and his friends in Raleigh and Charlotte had already learned the songs without him even asking. What choice did he have? He stepped out from behind the drums and took the mic. Vince and his partner’s house sits on a sleepy hillside in the rust belt suburb of Braddock, Pennsylvania—a storied base for many Pittsburgh hardcore punk musicians over the years. We spent a quiet Saturday morning talking about punk origin stories, the magic of intergenerational knowledge sharing, and what’s exciting to him right now. --- **As a drummer you’re used to being in the back. When you were recording these songs, did you ever imagine having to actually front the band?** That’s kind of what I’d been doing before for the last however many years—like almost 20 years of being in the back and sort of protected and just locked in. I do kind of prefer that. And there was a moment when I thought, *Well, if we did this live, I would play drums*, but then I was kind of like, *Who would sing? I’m not really sure.* So I just decided to do that. But it’s pretty much the opposite dynamic from drums to singing. So I still don’t think that I’m a frontperson. Just like when you see a singer who’s born to be a singer or a frontperson and they’re just killing it and full of energy and bouncing all around, I don’t have that. I can do it, and I can get up and scream into the microphone, but it’s a little bit different. But it hasn’t completely deterred me from giving it a shot. **I think there’s no actual human cardiovascular way that you could do the vocals and the drums for these songs at the same time.** At this point, no. Actually, I played guitar first when I was in high school. I didn’t pick up the drums until about 16 or 17 or so. And I basically was like thrown into the position of trying to sing and drum at the same time. And it was really hard, especially when you suck at the instrument, just adding another thing. Because I could play guitar and sing—sort of, very badly—but I could get through it. But drumming and singing? I basically gave up on that a long time ago. It’s brutal. And some people can do it and it’s amazing. **Are you thinking about performing when you’re up there? Or just getting through it?** When I first started to do Shaved Ape live, within five seconds of singing, I literally was almost ready to pass out. Like I would feel like flush and then be like, *OK, get it together.* It was like a seconds-long sort of reaction. It was all this buildup and then just like screaming as loud as I can, pushing all the air out of my lungs, and I would be lightheaded. And I don’t know, I’m diabetic as well. I don’t know if that was because my blood sugar was all fucked up. But yeah, just doing that on its own can be brutal because I’m not very good at it. And managing to say all the words? I think I was more focused on that and remembering the words too. Doing it as a band where it starts organically, you practice for like a year or something, and every time, you get tighter. When it was just a basement project, I wrote the lyrics down right before it was time to record it, blast it out, and then not really have to think about it again for another year or something, or even at all. Until I had to. And I was like, *Oh shit, I have to know these songs.* With some of them, trying to fit the words to the music...I was probably a little ambitious with how many words. There’s definitely a way to do it where you could have very few words and it’s super powerful. Sometimes too many words is just not the vibe. **Punk is a spectrum. On one end is Crass and Youth of Today, and the other end is…** Like Discharge with a haiku over a minute and a half or something. Or powerviolence bands like Crossed Out or something—literally a six-word sentence, that’s the lyrics. Mine’s probably somewhere in the middle. **How did Shaved Ape start?** At the time that I was kind of messing around with riffs and stuff. I was in White Stains and Loose Nukes at the same time, which is almost the same band, just different singers. I would record riffs to just be like, *Oh, that’s a cool idea. I’ll record it on my phone on this like crappy recording app.* And then I had this sinking feeling that my phone was just gonna die sometime soon or break and then nothing was backed up. And I was like, *I should actually pick through this collection of bullshit and see if I can make songs out of this.* So around the time that those bands broke up, I was like, *This is a way to kind of focus some energy on that before my phone explodes and all of it would be forgotten.* I’m the kind of person where if I don’t record it... **It’s gone.** I’ll forget it. Eric \[Montanez, bandmate\] is the same way. Like I know a lot of people that it’s just like, wait, what did I just play like two seconds ago? I don’t remember. **Being like, “Oh, I love that riff that you played.”** And they’re like, “What riff?” So that was like pretty much how that started. I’ve always messed around with four tracks and recording, and I had been using it to record some of those bands’ stuff, which was also a little ambitious because it’s a little different doing it one instrument at a time to get it to sound like clear and still kind of shitty. But in a live room, it’s just hoping that everything’s gonna bleed together in the right way. So I already had been messing around with that for a long time and then decided, *Fuck it, I’ll just try to record these songs for myself.* **How did the artwork come to be—the Chuck Hults photo of Riky Barnes?** When I saw that photo, it was like, this is the vibe. It’s like pure joy. And it’s like punk and skateboarding, like fully on display. So I was really stoked when the photographer agreed to have it be used. And obviously Riky Barnes, who’s in the picture, I’m not sure if we really would have needed his approval necessarily, but it sounded like they were both psyched to use it. At least hopefully they were. **How did you get in touch with Chuck Hults?** I hit up Daniel \[from Sorry State\] who said, “Oh, we know someone who works at *Thrasher* and we have a pretty good relationship. They know these people and would be happy to reach out.” And then through this other person at *Thrasher*, they got in touch and then talked it out and worked it out from there. **It’s so cool how intricately woven the history of punk and skateboarding is.** For sure. And it’s kind of probably since around the time that I did the first tape that I started really skating on the regular again and hadn’t really skated since I was a teenager. I was never good. I’m better now at 44 than I ever was at like 17 or 18. **That’s awesome.** Which is still not good, to be clear. I got my pads on and I’m just barely making it through and falling a lot. But it’s been super fun. And so I don’t know, maybe it was like finding that photo that got me amped up even more. **How did you get into punk?** I was like middle school obsessed with Nirvana in the ’90s, I learned all the songs on guitar. Like grunge fully hit the Midwest. I grew up in central Illinois where we would get everything like 10 years late, even though Chicago’s like 2 1/2 hours away. I got a book about Nirvana \[*Come As You Are* by Michael Azerrad\], so I’m looking through this book and they’re talking about Black Flag and Bad Brains and Minor Threat and Flipper, and like Kurt Cobain would wear a Flipper t-shirt or like the Feederz sticker on his guitar. And so that kind of got me interested. Like I knew about the Ramones and the Sex Pistols, but everything beyond that was pretty foreign to me. And so in Normal, Illinois, which was 20 minutes or so from where I grew up, there was a head shop and record store. Mother Murphy’s is what it was called. It was one of the oldest head shops in the country. It’s kind of this amazing, special place. It still exists. They don’t have many records anymore, but my parents would take me when I was like four and five. My dad would go there and buy like Bob Marley records and buy rolling papers and shit. You go up the steps, it’s on the second floor. And it was just like, you were like climbing into this crazy space, like, paint, artwork everywhere. As soon as you open the door, music’s blasting and it’s just like overwhelming. It’s called the rock’n’roll emporium or whatever. And there’s a sign of Jimi Hendrix and Chuck Berry where they cut it out of plywood. I went in there and was like, they’re like, “What are you looking for?” “Black Flag.” So they’re like, “Take this, do you want a CD or a record?” And my dad had a record player. I didn’t think I had a record player yet, so I got *Jealous Again* by Black Flag on CD. And that was kind of the beginning. I was hooked from there. **That’s awesome. Also like crazy to have that sort of magical portal near where you grew up.** It was amazing that existed because I think honestly without it, my life could have been completely different. And the other funny thing about, well there’s many cool things about that store but I would always see this record. There’s just a black cover with a naked person with like nuns in the background, like looking like shocked. And it says “[Naked Hippy](https://www.discogs.com/artist/1781820-Naked-Hippy?srsltid=AfmBOoq6p2ve9AZWD1wOT8kCo7onNptOuncOYc1ooTKyc%5FAi9EJECW3P&ref=see-saw.fun).” And even as far back as being like a child, I would see that in that store. And it wasn’t until I was getting into punk that I realized like the guy who manages the store—that’s his band from the ’80s. And it’s like one of the best fucking records ever made. It was kind of second wave. It was late ’80s. So like the whole like ’81 to ’86 or whatever happened. And then these guys started that band sort of after that. At that point the internet existed, but like I couldn’t imagine you would find that record on the internet at that time. So it was still a lot of trading tapes, word of mouth. I also would order records from Sound Idea and he had, this was like a record store in Florida. And on the back of the *Slug and Lettuce* zine, I don’t know if you ever saw those, because they haven’t really printed any in quite a while. The entire back would be like a mail order form, like probably a list like 1000 in tiny print. You could just go through and order and call the phone number. And so when I was like 17, living at home, going to high school, I would call the number I’d have my money—like however much I was making working for my dad set aside, but then my mom would have to get on the phone with the credit card and read the number. Or I would read the number and then the guy, this dude, Bob Suren, he was like, “Well, you’re going to have to put your mom on the phone. It’s just we have to do it. We trust you, but…” and I was like mortified. So my mom gets on and she’s talking to this dude at a punk record store in Florida. And then they get off the phone and he’s like, “All right, it’ll be there in two weeks or whatever.” And so fast forward to when I’m in school, I’m in my own apartment. I get a random call from this guy, Howie, who had gotten my number from that record store. **From Sound Idea in Florida?** Yeah, he was good friends with Bob. And this guy asks Bob like, “Do you know anybody in Normal, Illinois?” And he’s like, “Well, there’s this one guy that’s ordered from me, like, try him.” And then he just called me out of the blue. And he’s like, “Hey, dude, like, I heard you like punk shit, I just moved to town from Louisiana and you should come over and listen to records.” So I just immediately became friends with this dude, Howie Burkenstock. He sang for a Reason of Insanity and had been in bands for a long time, but he had an amazing record collection. I think all he moved was like his dog and his records and some clothes. And that was another thing where if that hadn’t happened, I don’t know, like I would have maybe eventually heard a lot of stuff, but hanging out with Howie was just like a torrent of amazing music just coming at me, and pretty much none of it had I really heard or encountered. ![Vince Klopfenstein, aka Shaved Ape; photo by Jim Fair](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/06/vince-1-.png) Vince Klopfenstein, aka Shaved Ape; photo by Jim Fair **You’ve had so many random ass punk gurus, that feels so lucky.** I’m super lucky that some of those happened. And the dudes at Mother Murphy’s were. It was funny because there was a pretty heavy garage punk scene there. Like you’d hear Teengenerate blasting and I would just be blown away. *I have to get that.* And they would book shows at this dump of a dive like right down the street. And they managed to get like amazing garage bands, like the Oblivians, Country Teasers, like that network of garage stuff. And so they would kind of tease us like young kids. Like they’re like, “Oh, you don’t know 7 Seconds? Get that record, dumbass.” And like called me by the wrong name on purpose. There was this dude, another old head from there that knew all this shit and would sort of begrudgingly tell us about stuff. And it was all these random moments like that you’re like, *Oh shit, that was pretty significant.* **This record is such a joyful collection of songs, and there is this youthful energy to it. Hardcore punk is in a lot of ways supposed to be like a young person’s game, a youth genre. So how do you balance that? How do you feel about the general state of hardcore in that way?** Yeah, I definitely agree that it should be and has always been a youth culture, like an explosion of youthful energy. So when you hit middle age and you’re like, *What am I doing here?* There’s a way to sort of be like, *I’m gonna stay young till I die*, like refusing to become an old person and refusing to age, and you just stay locked in the same mentality that you had when you were 17, which I don’t think is always very healthy. I don’t think that 50 year olds in punk should necessarily be gatekeeping everything. Definitely some things are important to make sure everyone’s aware, like there’s a good way to be, but if you’re policing 20 year olds, I don’t know that that’s the way to do it. I never want to be like in my mid-40s telling a 20 year old what to do. If they’re really fucking up bad, then yeah, definitely. But like the torch is going to get passed. And if kids want to do some crazy, interesting, different shit and if they want to be in a band and not check all the boxes that you think need to be checked, that’s fucking fine. Like, they’re gonna figure it out. And it’s kind of like, if they fail, that’s fine. I think it should always stay with the youth, as sloppy as it will be. It’s been funny to be on tour, at shows or playing shows like a bunch of people in their 40s or late 30s trying to keep rocking out. And it’s like, I do sometimes wonder like, is that, is this the move? Or is it time to put that behind me? I feel like there is a way to do it without being like, “OK, grandpa, let’s get you to bed.” There’s a way to do it where you’re involved, you’re doing your thing, but you’re not trying to control anything. And definitely not like trying to overly influence what young people are doing. **What punk shit is exciting to you right now?** Well going out on tour in 2024, we got to play with some bands in the Norfolk area and Virginia Beach. I think the sort of Richmond, Virginia Beach, Norfolk scene is very youthful—very out of control and exciting. That was really awesome to see and inspirational. Unlawful Assembly in Milwaukee. I got to see Brainwash Victims recently, who are fucking amazing, but I just really like what that label is doing. All the releases are very carefully done, like very well executed. And the bands are all, you know...they all rip. --- *see/saw is a reader-supported independent punk newsletter. If you enjoyed this piece, please share and* [*subscribe*](https://see-saw.fun/#/portal/)*.* ### punk this week: pleasure cube, gimic, osees, slippers, edging + 15 more URL: https://see-saw.fun/punk-this-week-pleasure-cube-gimic-osees-slippers-edging-15-more/ Last updated: 2026-06-06T17:55:46.000Z Hey, it’s [Punk This Week](https://see-saw.fun/tag/punk-this-week/), see/saw’s weekend round-up of the best punk and rock'n'roll records. Pleasure Cube, Gimic, Osees, Slippers, Edging, the Circulators, Prisão, K9, Liquid Cross, and Blood Cannery all dropped new stuff this week. Read about those and a staggering 10 additional sick punk records. There’s a bunch of links at the bottom of the column, too, if you’re just an insatiable sicko who also needs to hear [Crushed Balls](https://crushedballs.bandcamp.com/album/ep?ref=see-saw.fun). Do you crave a weekly guide to the best punk records? [Subscribe to see/saw](https://see-saw.fun/#/portal/) for $4/month or $40/year or [barter](https://see-saw.fun/bartering/) (NOTAFLOF, hit me up). There’s plenty of stuff for free subscribers, but a paid subscription gets you weekly columns, the full radio archive, and the monthly bonus podcast about perfect punk records, *see/saw jukebox*. We just shared [our chat with DEVO’s Gerald V. Casale](https://see-saw.fun/see-saw-jukebox-devos-gerald-v-casale/). Speaking more broadly, see/saw subscribers help keep this operation alive. Subscription money goes toward paying writers and photographers; it’s the primary way to support the weekly *Punk This Week* podcast. Thanks for supporting this reader-supported operation, now go find a sick new record. --- **Pleasure Cube:** [***Big Doses***](https://pleasurecube.bandcamp.com/album/big-doses?ref=see-saw.fun) **\[self-released\]** The first new record in two years from the Minneapolis trio of Amanda, Elgin, and Wade is a gorgeous glob of grunge-flavored melodic no wave. This is a summer record that oozes with the discomfort of desire, intimate connection, and a failure to communicate. These stifled feelings are captured perfectly by Elgin and Amanda’s trade-off vocals; they’re two narrators approaching the same moment from different perspectives. That dynamic is why Pleasure Cube’s live show is such a treat. It’s two people shouting into mics—each with their own melodies heading in their own directions—while Wade’s drumming becomes the primary bonding agent. It’s a cacophonous record captured in a beloved Minneapolis punk house, and it sounds like the absolute best version of a Minneapolis basement show. A perfect document of what makes this such a crucial band. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/06/a0059651170_10.jpg)](https://pleasurecube.bandcamp.com/album/big-doses?ref=see-saw.fun) --- _This post is for paying subscribers only._ ### see/saw jukebox: devo’s gerald v. casale URL: https://see-saw.fun/see-saw-jukebox-devos-gerald-v-casale/ Last updated: 2026-06-04T22:08:33.000Z [*see/saw jukebox*](https://see-saw.fun/tag/jukebox/)is a bonus podcast about perfect punk records from *Punk This Week* hosts Nina Corcoran and Evan Minsker. Each episode, we’re joined by special guests to curate perfect punk records for a mythical jukebox. DEVO’s Gerald V. Casale joins us this time around (following extensive technical difficulties) for a wide-ranging and wonderful chat. We discuss the demise of his alter ego Jihad Jerry (as seen in the music video for “[I’m Gonna Pay U Back](https://www.youtube.com/watch?v=8kv2UMoynOw&ref=see-saw.fun)”), Jerry’s forthcoming solo record *Wetiko*, the initial hostility from the punk scene and New York music media toward DEVO, the widespread acceptance of DEVO by contemporary punk bands, and so much more. Of course, we each pick a perfect punk record to add to the jukebox. Suffice to say, we talk about some DEVO records. [DEVO are on tour](https://clubdevo.com/tour/?ref=see-saw.fun) right now with dates scheduled throughout 2026. If you’d like to hear this can’t-miss episode of [*see/saw jukebox*](https://see-saw.fun/tag/jukebox/)or our [previous chats](https://see-saw.fun/tag/jukebox/) with members of the Marked Men, Touché Amoré, Citric Dummies, Optic Sink, MSPAINT, Eraser, and King Tuff, they’re all available exclusively to [paid see/saw subscribers](https://see-saw.fun/see-saw-jukebox-11-king-tuff/#/portal/) ($4/month or $40/year or [barter](https://see-saw.fun/bartering/) \+ there’s a two-week free trial)! Subscribe and listen below. _This post is for paying subscribers only._ ### punk this week podcast: eddy current suppression ring + hillsboro URL: https://see-saw.fun/punk-this-week-podcast-eddy-current-suppression-ring-hillsboro/ Last updated: 2026-06-02T23:48:14.000Z [Punk This Week](https://see-saw.fun/tag/podcast/) *is see/saw’s weekly podcast from co-hosts Evan Minsker and Nina Corcoran—a discussion of the latest and greatest in the world of punk rock. We talk about six new punk records we’re loving from the past week. Ad-free and bonus episodes are available only to paid* [*see/saw subscribers*](https://see-saw.fun/punk-this-week-podcast-marbled-eye-film/#/portal/)*with the link at the bottom of this page!* Evan and Nina celebrated some dear friends over the weekend. This happened mere days after getting shouted at by one of their heroes during a taping of [*see/saw jukebox*](https://see-saw.fun/tag/jukebox/). (Everybody’s cool, it’s an amazing conversation.) We tell the story of that imminent episode and talk about some records that remind us of [Zorak](https://www.youtube.com/watch?v=LhBnEa0hKUc&ref=see-saw.fun) and *Breakout*. It’s episode 87 featuring new ones from [Eddy Current Suppression Ring](https://eddycurrentsuppressionring.bandcamp.com/album/in-light-of-recent-events?ref=see-saw.fun), [Hillsboro](https://hillsboro.bandcamp.com/album/a-party-in-your-name?ref=see-saw.fun), [Concrete Lawn](https://concretelawn.bandcamp.com/album/concrete-lawn?ref=see-saw.fun), [Emergeense](https://emergenseexit.bandcamp.com/album/ep-2?ref=see-saw.fun), [WWW](https://wvvw.bandcamp.com/album/cyberpunks-contra-el-presente-cyberpunk?ref=see-saw.fun), and [DALAÏDRAMA](https://dalaidramamusic.bandcamp.com/album/things-we-wont-be-doing-anymore?ref=see-saw.fun). --- If you like this podcast, please leave us a review + share it + subscribe! *Punk This Week* is a [Ruinous Media](https://www.ruinousmedia.com/?ref=see-saw.fun) podcast; thanks to Ruinous for their support. Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.funhttps://feeds.captivate.fm/punk-this-week/). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/see%5Fsaw.fun/?ref=see-saw.fun) and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). Have a question you’d like to hear addressed on the show? Want to talk about a new record we didn’t discuss? Want to send a HARD PIVOT bumper? Join us on the see/saw [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun) or email us: [see-saw@see-saw.fun](mailto:see-saw@see-saw.fun). *Punk This Week* is made possible first and foremost by see/saw subscribers. Please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-marbled-eye-film/#/portal/) if you enjoy this podcast. You’ll get ad-free and bonus episodes, plus the weekly [Punk This Week column](https://see-saw.fun/tag/punk-this-week/) and the [see/saw radio](https://see-saw.fun/see-saw-radio/) archive! _This post is for paying subscribers only._ ### playlist: the 58 best punk songs of may 2026 URL: https://see-saw.fun/playlist-the-58-best-punk-songs-of-may-2026/ Last updated: 2026-06-01T23:51:23.000Z Positioning yourself as a punk writer means occasionally getting a message from an artist you respect a huge amount but have never actually spoken to before. One such DM came through in the past month—a person who’s been in self-described “hermit mode” but has been keeping an eye on punk happenings from afar and working on new stuff privately. That missive came through right before the final see/saw show for the foreseeable future—a Minneapolis DIY gig with [Rotary Club](https://see-saw.fun/rotary-club-could-only-be-reached-via-reno-bus-station-payphone/) the week after the big May Day parties. Maybe it felt like tacit permission from somebody who’s been in the game way longer than I have, but after two months of late nights and blasted eardrums, fatigue had set in and my own hermit mode had begun. May was spent in the garden, hanging out with my kid, writing, podcasting, working my day job, and intentionally missing out on several very sick shows. My hermit brain has started gearing itself toward metrics—how many people are reading see/saw, subscribing, unsubscribing, downloading the podcast, etc. I hate it. Two years in, I’m still reprogramming from the corporate journalism culture of measuring success via analytics. The idea of the “right number” is bullshit. No number will ever be good enough if capitalism is the only goal. The whole point of doing something like this is “introduce people to some music that rules,” and as far as I can tell from anecdotal evidence and very kind messages, mission accomplished. I love finding sick new records, and I love when new people find see/saw because it means they’re finding said records. Like the more the merrier, and more paid subscribers means more money to pay my favorite writers for sick punk feature, but mostly: people like reading it and I like doing it. That’s success. Eddy Current Suppression Ring, Sweeping Promises, Artificial Go, Useless Eaters, and Alien Nosejob all appear on this month’s playlist. Damn. Here’s my favorite stuff from May 2026. --- [**see/saw’s 58 best punk songs of may 2026**](https://www.buymusic.club/list/seesaw-seesaws-best-punk-songs-of-june-2026?ref=see-saw.fun) Useless Eaters: Cochon Sauvage Piper Maru: vacancy Eddy Current Suppression Ring: Bop Jake King: Little Did I Know Fleon Sunoco: Skinny Dipping Alien Nosejob: Live Like the Crowd Prisonnier du Temps: La Liberté S'Obtient Par le Sang Sweeping Promises: Shooting Shadows Genre Is Death: Repulse Artificial Go: Triple Ones Power Pants: Do You Rock or Do You Roll? No Peeling: Campaign for a Nice Time Providers: El Momento Jolana Star: Crisis of Faith God Entered My Body Like a Body My Same Size: Bad Thought Irked: Death Cult Shrudd: Hammerman PINKLIDS: Breadwinner SMARM: Lick the Fist Theeeee Retina Lamps: More Lies Tyvek: Eye Roll Fiona Slide: Etruria G2K: I Rock I Ran Memo PST: Dog Groomer Stylist Nazi Tampons: Zelená Míľa Suicidas: Cantemos Drakulas: Head in the Clouds Andresa One Man Band: Nothing but R'N'R The Sleeveens: National Anthem Siyahkal: Anarchy in Iran Marbled Eye: Stubborn Mind Smirk: Dog Years Hez: Nunca Termina T-Models: Portrait of Swine MK Ultras: Chrome Crusher Obamacare: Running from the Law Cherry Cheeks: Cruel Bore Radon Abatement: Harmonium Jr. M.A.T.B.: SPATZ Fentanyl: Cobrar el Dolor WWW: Vigilancia Mock Execution: Freedom for Sale Klonns: Parasite W-9: Elvis NightFreak: DUH Jacket Burner: Ain’t Got Shit Crash: Cut Loose Army of God: Play Your Part forcer: proliferation Heathen Axe: EXIT Timmy Vulgar & Jimbo Easter: art vultures The Thirsty Giants: Read the Room The Carp: I Crave the City G.U.N.: Friday Night Stake Out Total Con: Spill the Blood Cell Deth: The Grind Concrete Lawn: Return to Dust --- *see/saw is a reader-supported publication. If you liked this playlist, please share it and* [*subscribe*](https://see-saw.fun/#/portal/)*.* ### punk this week: eddy current suppression ring, pinky tex + 16 more URL: https://see-saw.fun/punk-this-week-eddy-current-suppression-ring-pinky-tex-16-more/ Last updated: 2026-06-01T18:32:22.000Z Hey, it’s [Punk This Week](https://see-saw.fun/tag/punk-this-week/), see/saw’s recommendations column shouting out the best new punk and rock'n'roll records. I hope you’re doing good. Eddy Current Suppression Ring released a new full-length this week. Toody Cole returned with a new record under the name Pinky Tex. There’s new stuff from Siyahkal, Full Size, Concrete Lawn, the Bug Club, Hez, Patois Counselors, M.A.T.B., and so many more. It’s a very, very good week for new punk records. see/saw is a reader-supported independent publication. The weekly column is paywalled beyond the first blurb, so you’ll have to [subscribe](https://see-saw.fun/punk-this-week-marbled-eye-gun-sweeping-promises-13-more/#/portal/) for $4/month or $40/year or [barter](https://see-saw.fun/bartering/) to read it all. (NOTAFLOF; hit me up and we’ll work something out.) There’s a two-week free trial if you want to see what it’s like. The perks of the paid subscription are these weekly columns, plus [bonus podcasts](https://see-saw.fun/tag/jukebox/) and the [radio archive](https://see-saw.fun/see-saw-radio/). Another perk is the feeling of satisfaction you get from supporting an operation with zero investors, backers, or anyone to tell me to cover more popular music. This one’s for the sickos. Thanks for reading. --- **Eddy Current Suppression Ring:** [***In Light of Recent Events***](https://eddycurrentsuppressionring.bandcamp.com/album/in-light-of-recent-events?ref=see-saw.fun) **\[self-released\]** When Eddy Current Suppression Ring released “Swimming Hole” strictly as a music video last year, it felt like their latest fiery missive as an incredible singles and loosies band. They’ve crafted perfect albums in the past two decades, but have you heard the singles comp *So Many Things*? “Swimming Hole” was a stomping Song of the Summer candidate and an exceptional return to form, followed shortly thereafter by a 7” and some benefit comp appearances. The Melbourne band’s modus operandi is staunchly casual despite their feverish fanbase; I just assumed they didn’t care much about getting into “album mode” at this point in their trajectory. Maybe all the new material they’d been playing at their recent shows in Australia would get intermittently scattered. In light of recent events, I realize it’s never safe to assume. One of the best punk bands on the planet surprise-released their first full-length in seven years this week, and it’s their best album since 2008\. Part of this record’s success is in Danny, Mikey, and Rob Solid’s locked-in drive and Brendan’s hollering. Bangers like “Bop,” “Hard to Be Moved,” and “Swimming Hole” are made even more massive by the album’s exceptional sequencing. Eddy Current Suppression Ring have such a defined sound, and even as they follow a template of sorts, this is a record that heats up and cools off. Ballads rise to a boil, jams unfold gradually, and they never overturn the same hook twice. Every song on this record is great to perfect, but there’s something specifically impactful about Brendan singing “what I’d give for another day with you” on “My World.” The final stretch of the album deals with love and loss, and the band stays upbeat even with shadows everywhere. Eddy Current Suppression Ring’s music always did have the ability to make existing in the present that much easier. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/05/a0354106001_10.jpg)](https://eddycurrentsuppressionring.bandcamp.com/album/in-light-of-recent-events?ref=see-saw.fun) _This post is for paying subscribers only._ ### byproxy did not plan to sound like this, and it rules URL: https://see-saw.fun/byproxy-did-not-plan-to-sound-like-this-and-it-rules/ Last updated: 2026-05-28T01:22:35.000Z Bri of Portland’s [byproxy](https://byproxy.bandcamp.com/album/byproxy?ref=see-saw.fun) asked me the difference between the scenes in Chicago and their hometown. Both are incredible, but in Portland, you never have to seek it out. It’s everywhere. You float in it throughout the city, which is what helps make bands like byproxy happen here. It’s a primordial soup of creativity that spawns a seemingly boundless art punk band like this one. Inside Mad Hanna—a neighborhood dive bar home to pinball machines, a DJ booth with a chalkboard announcing that week’s eclectic lineup, and a peaceful woodchip-lined outdoor patio—we met for their first interview as a band. The four-piece is made up of Bri (vocals), Andy (drums), Scott (guitar), and Kyle (bass). Bri is also a member of Launderette, Andy plays in Besotten, and Kyle is in Cherry Cheeks. While byproxy is just getting started, the collective’s experience runs deep and wide. With a fresh demo tape, byproxy are moving fast through the soup. --- **You formed recently—when did you all come together?** Bri: I’m terrible about time. Three of us started jamming first, and then Kyle really made it happen. Andy: Two Halloweens ago, Bri did a Fall cover band with Scott’s girlfriend. So that’s when we met Scott, and I don’t think we knew if you played guitar. Bri: We talked about it over quesadillas, and then I was like, “Let’s jam.” Scott: That’s true. That’s kind of how our connection started. Andy: That was, like the initial rumblings. Then we started jamming summer last year. Scott: The three of us. Bri: And then with Kyle for about 6 months. **You guys are sort of a supergroup of a few Portland bands.** Andy: I think Kyle can get the super group moniker, the rest of us less super. Kyle: \[*laughs*\] I don’t know about that. **What’s that been like? Bringing bits and pieces from all the other band experiences together to create something new.** Scott: Honestly, I feel like that’s it. That’s kind of our thing. We’re all coming at this from sufficiently different angles that the mix that happens is sort of surprising to me. Sounds like it’s surprising to other folks as well. Andy: I don’t know about your previous band stuff. Scott: I haven’t been in one. I’ve been playing guitar most of my life, and I’ve been in bands here and there with friends, but like one-off kind of stuff. Bri: It’s been kind of cool because we all have pretty broad taste. We are coming from different angles. Like Andy is still a metal drummer, so that kind of gets in there. I feel like me and Kyle, we very much nerd out on a lot of the same stuff, like pretty underground ’70s stuff from Georgia or the Bay. You get my references. But yeah, it kind of comes together in a weird way. I feel, personally, really comfortable being a free cat and just making sounds and coming up with things in a really safe way because we’re all just throwing stuff together and seeing what lands. Andy: So we’re married, and for a while we were like, “Can we do a band together? Is it gonna be weird dynamic, or is it gonna be cool?” And initially, before we started talking to Scott, we were like, “Let’s do like a death rock gothy band. And that was our initial vision. Then we got Scott, and then pretty quickly that wasn’t the sound. And then we got Kyle, and that changed again very quickly into something else. So it’s not at all what we had in mind, but it’s much cooler and more fun. Bri: I wanted to be like, you know, kind of a specific thing. I’m happy that we’ve moved beyond that because I don’t want to feel limited. **You had your first show in February. How’d that go? What was it like performing together for the first time?** Scott: Well, first off, it was at Turn! Turn! Turn!, which is my favorite small venue in town. A lot of friends at that show. So it was a lot of love. It was a benefit for the Independent Portland Publishing Resource. Andy: We were real sloppy, but it was fun. Bri: It was with all the buds, right? If it wasn’t with all the buds, it might have been like, “Let’s wait a little bit before today’s show.” But it’s a benefit show, it’s with our friends, it’s gonna be a good time. You gotta get out there sometime, you know? Kyle: It was the impetus for us to get the four songs that we have down. Then we just recorded the demo like the week before in a day so that we would have something for the show. ![byproxy, photo by Kyle Harms](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/05/000076820016.jpeg) byproxy, photo by Garth Purkett **You looking to record anything else soon?** Bri: We sure are. Kyle: Get more songs finished. Bri: Yeah, I feel like we’re going pretty fast. So, yeah, we’’re trying to do a full-length. We’re trying in that direction. Andy: We have two-ish more songs already. Scott: Honestly, it’s one of my favorite things about the band so far. There is this real serendipitous element to all this. We just made friends, talked about doing something, started doing it, and it kind of started happening. So as Kyle was saying, for that first show, when we committed to doing the show, we didn’t even have all the songs written. Kyle: We had zero songs. Scott: We kind of agreed we’re going to do this show, and so I’m motivated to get those songs done. And we did. And they’re really good. I love these songs. With recording, it’s the same thing, we’re sort of pulling everything together, but it’s really come together. The writing process for me has been kind of a surprise. This has been so collaborative. With the shows, we can show up and jam, and then we pick parts we want and kind of iterate until things come together. The whole project has kind of gone that way and landed in this really cool way. So I myself am curious to see how this, the rest of this forthcoming potential album goes. Andy: Yeah, and we played a show last week in a buddy’s basement, and we’re like, “Let’s have one more song finished for that,” and we have, like a song and a half finished for that. So I think we just keep doing that, and we can just write fast. Bri: So let’s overcome it ourselves before we got the goods. And that will just be our system. Kyle: Put the cart right in front of the horse. **So three albums ready by your next show?** Kyle: Yeah, when we walk out of here today, we will definitely have two more done. **Do you have any ambitions for the band overall, or just sort of enjoying the ride?** Andy: We want to play Gonerfest. Bri: I want to tour in general. Kyle: And then we run for some party. byproxy for President. Andy: I think we have a personal goal of playing Thee Stork in Oakland. Scott: So yeah, we got these little tiny goals. But, I mean, the album is a goal, definitely would like to do a tour, and play our favorite spots. Kyle: And then top of the Bass Pro Pyramid in Memphis. Scott: We’re going to do a mystical ritual. When that ritual happens, the bass that’s on the side of the pyramid starts flipping around and singing “Day-O.” Bri: Maybe we can get our songs in the Billy Bass. Andy: We’ve been in a bunch of bands, but never gotten vinyl. So vinyl is always a goal. Scott: It is a little appropriate in our interview here giving a shout out to Cherry Cheeks, not just for being a fabulous band, but also Kyle Harms’ roommate here in town, that's where we recorded our demo. I don't remember who said it, but my favorite phrase was, "This sounds better than a demo." Because it really does. Andy: And we did that in like three hours. Very great punk basement recording area and then just a nice toilet with no door. It’s perfect. Bri: And the sweetest dog, Bella, cheering us on. We were like, “This is too loud for your ears, little one,” but she wanted to hang for sure. ![Chester with the byproxy tape, photo via byproxy’s Instagram](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/05/0043060862_10.jpg) Chester with the byproxy tape, photo via byproxy’s Instagram **Who is the orange cat in your demo tape photo?** Bri: Yeah, that’s Chester. Got two boys, Mac and Cheese. Chester Cheese and Macaroni. Andy: Macaroni would not allow a cassette picture, but Chester was all for it. **I also have two orange cats, Charlie and Malort.** Bri: I had an orange cat named Charlie. I have his skull on my mantle now, because he just wanted to live forever. He tried. Kyle: We also have an orange cat. Orange cat’s name is Nora. Then we have another guy named Clementine, not orange. **I was thinking about your band name byproxy. And I really want to know: What do you want to do by proxy?** Bri: Or, what I *don’t* want to do by proxy. Those were some thoughts I was having at the beginning. I mean...this is gonna be so fucking dorky, but I’m gonna say it anyway. I was really a late bloomer to playing music. I didn’t even start playing music until my thirties, and I was just like, *I’m gonna go to every show. I’m gonna just watch everybody.* And I was just soaking that up. And like... I don’t know. It took me a really long time to be like, *No, I can play music myself or switch into that. Just fucking do it. It doesn’t matter.* My first band was called Phony. It was a mess. It was so fun. Portland is so supportive with that kind of thing. Let’s all just keep on being weirdos and let’s all just make music. Just inspire people just to be creative. That’s what it’s all about, you know? Kyle: I had this fun idea for doing this interview by proxy, just like an iPad on FaceTime we were sitting like over there telling them what to say. It would have been great, but I had the idea earlier today. In the chat I was like, “We got two hours. Can we find anybody?” --- *see/saw is a reader-supported punk and rock'n'roll publication. If you enjoyed this piece, please share and* [*subscribe*](https://see-saw.fun/#/portal/)*.* ### punk this week podcast: marbled eye + film URL: https://see-saw.fun/punk-this-week-podcast-marbled-eye-film/ Last updated: 2026-05-26T21:05:45.000Z [Punk This Week](https://see-saw.fun/tag/podcast/) *is see/saw’s weekly podcast from co-hosts Evan Minsker and Nina Corcoran—a discussion of the latest and greatest in the world of punk rock. We talk about six new punk records we’re loving from the past week. Ad-free and bonus episodes are available only to paid* [*see/saw subscribers*](https://see-saw.fun/punk-this-week-podcast-pinklids-prisonnier-du-temps/#/portal/)*with the link at the bottom of this page!* Nina asks a burning question about public bathroom hand dryer technique and road trips for a grail television and some free VHS tapes. This episode’s unofficial title is “Dysons, Drive-Ins, and DBZ.” We chop it up about new records from [Marbled Eye](https://marbledeye.bandcamp.com/album/forever?ref=see-saw.fun), [FILM](https://filmpa.bandcamp.com/album/permanence?ref=see-saw.fun), [Jacket Burner](https://goodbyeboozydigital.bandcamp.com/album/pig-vomit-session?ref=see-saw.fun), [Piper Maru](https://pipermaru.bandcamp.com/album/babagsak-sila-2?ref=see-saw.fun), [Obamacare](https://obamacareband.bandcamp.com/album/family-guy?ref=see-saw.fun), and [Gremlin](https://gggremlinnn.bandcamp.com/album/youre-the-man-now-dog?ref=see-saw.fun). --- If you like this podcast, please leave us a review + share it + subscribe! *Punk This Week* is a [Ruinous Media](https://www.ruinousmedia.com/?ref=see-saw.fun) podcast; thanks to Ruinous for their support. Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.funhttps://feeds.captivate.fm/punk-this-week/). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/see%5Fsaw.fun/?ref=see-saw.fun) and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). Have a question you’d like to hear addressed on the show? Want to talk about a new record we didn’t discuss? Want to send a HARD PIVOT bumper? Join us on the see/saw [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun) or email us: [see-saw@see-saw.fun](mailto:see-saw@see-saw.fun). *Punk This Week* is made possible first and foremost by see/saw subscribers. Please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-pinklids-prisonnier-du-temps/#/portal/) if you enjoy this podcast. You’ll get ad-free and bonus episodes, plus the weekly [Punk This Week column](https://see-saw.fun/tag/punk-this-week/) and the [see/saw radio](https://see-saw.fun/see-saw-radio/) archive! _This post is for paying subscribers only._ ### punk this week: marbled eye, g.u.n., sweeping promises + 13 more URL: https://see-saw.fun/punk-this-week-marbled-eye-gun-sweeping-promises-13-more/ Last updated: 2026-05-22T23:01:12.000Z Hey, it’s [Punk This Week](https://see-saw.fun/tag/punk-this-week/), a weekend newsletter blast with new punk and rock’n’roll recommendations. This week we’re listening to Marbled Eye’s new one and four garage punk greats with records on the iconic label Goodbye Boozy. Sweeping Promises, Alien Nosejob, and Smirk preview their next albums. Looking for unbelievable hardcore records from G.U.N., Total Con, and more sick bands? You’ve made it to a column that will tell you about those things. see/saw is a reader-supported independent publication, so if you want blurbs about all the great new punk records delivered to your inbox every week, definitely [subscribe](https://see-saw.fun/punk-this-week-white-fence-shaved-ape-urq-18-more/#/portal/) for $4/month or $40/year or [barter](https://see-saw.fun/bartering/). (NOTAFLOF; hit me up and we’ll work something out.) There’s a two-week free trial if you want to see what it’s like. The perks of the paid subscription are these weekly columns, plus [bonus podcasts](https://see-saw.fun/tag/jukebox/) and the [radio archive](https://see-saw.fun/see-saw-radio/). Any support is genuinely massive. Thanks for considering, please share if you like what I do, and enjoy the weekend. --- **Marbled Eye:** [***Forever***](https://marbledeye.bandcamp.com/album/forever?ref=see-saw.fun) **\[Digital Regress\]** Oakland’s Marbled Eye makes the kind of post-punk record that demands to be played loud. To get a full scope of what this band’s doing so extremely well, it’s good if you let *Forever* completely overpower you. The grim vocals from both Chris Natividad and Michael Lucero, mixed together with some catchy-as-fuck hooks, propel this band to new heights. It’s an impressive feat that this their best written and best *sounding* record considering the quality of their 2024 album *Read the Air*. (Go back to that one if you haven’t heard it.) Marbled Eye are a band that paints in contrasts, like when the guitars explore a simple but stellar guitar solo high up the neck while the vocals ponder from the deep end. This is authoritative and expansive music; a turntable’s dream. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/05/a0976584856_10.jpg)](https://marbledeye.bandcamp.com/album/forever?ref=see-saw.fun) --- _This post is for paying subscribers only._ ### greg wheeler & the poly mall cops display their rabid live show with “reception” URL: https://see-saw.fun/greg-wheeler-the-poly-mall-cops-display-their-rabid-live-show-with-reception/ Last updated: 2026-05-21T18:19:21.000Z Last year, Des Moines punks [Greg Wheeler & the Poly Mall Cops](https://www.polymallcops.com/?ref=see-saw.fun) released their new album [*Slimephone Surveillance*](https://polymallcops.bandcamp.com/album/slimephone-surveillance?ref=see-saw.fun). Did you catch that record? If you like scream and fuzz-driven garage punk, it’s the kind of record you should make time for. Perhaps more importantly, you should set aside some time to see this band. In early March, Greg and Jill McLain-Meister and Hutch drove up from Des Moines to play the first see/saw show of 2026 at Leona’s in Eau Claire. ([A great night](https://www.instagram.com/p/DV3f7KtFf-%5F/?img%5Findex=1&ref=see-saw.fun)! Panel and Two Castles also ruled.) Having never experienced their live show, it was amazing to see this band in a room—their wild eyes, unhinged screams, uncomfortable uniforms, and Greg’s impressive Randy Savage impression loom large in my memory. [Kristian Day](https://www.kristianday.com/?ref=see-saw.fun) (*The Last American Gay Bar*) got Greg and the Mall Cops in a room for a live performance of the stellar *Slimephone* opener “Reception.” It’s a video without narrative or gimmick—just a demonstration of what you’re in for when you see this power trio buzzsaw Angry Angles style through a small room. “It is about where we are right now as a planet and a species,” Greg said. “Everyday you turn on the news and it is just getting worse and worse. We’ve lost touch with our humanity. Its hard to have hope.” It’s also a track that captures this band’s spontaneity: “I actually wrote the lyrics for this the day I recorded the vocals.” Go see this band. --- [*see/saw tv*](https://see-saw.fun/tag/see-saw-tv/) *is a tag I use to blog about videos I’d curate for my blog’s hypothetical music video broadcast. Here’s a* [*YouTube playlist with more*](https://youtube.com/playlist?list=PLKmwqbz-qfLaHDH%5FkhPdojifg-4auarrc&si=vamJEMEucdPQLKvF&ref=see-saw.fun)*.* ### punk this week podcast: pinklids + prisonnier du temps URL: https://see-saw.fun/punk-this-week-podcast-pinklids-prisonnier-du-temps/ Last updated: 2026-05-19T20:24:12.000Z [Punk This Week](https://see-saw.fun/tag/podcast/) *is see/saw’s weekly podcast from co-hosts Evan Minsker and Nina Corcoran—a discussion of the latest and greatest in the world of punk rock. We talk about six new punk records we’re loving from the past week. Ad-free and bonus episodes are available only to paid* [*see/saw subscribers*](https://see-saw.fun/punk-this-week-podcast-cola-t-models/#/portal/)*with the link at the bottom of this page!* One host enjoys a weekend with [Robber Robber](https://robberrobber.bandcamp.com/album/two-wheels-move-the-soul?ref=see-saw.fun) and a very fast wooden rollercoaster. The other spills coffee all over their office floor in the middle of recording. Which band shirt is used to mop up the coffee spill? Find out and hear us talk about new stuff from [PINKLIDS](http://pinklids.bandcamp.com/album/electrician-s-fever-dream?ref=see-saw.fun), [Prisonnier Du Temps](https://prisonnierdutemps.bandcamp.com/album/prendre-le-pouvoir-par-la-force?ref=see-saw.fun), [Edna Mode](https://ednamode.bandcamp.com/album/for-the-3-of-the-game?ref=see-saw.fun), [G2K](https://halo-fx.bandcamp.com/album/concept?ref=see-saw.fun), [God Entered My Body Like a Body My Same Size](https://godenteredmybody.bandcamp.com/album/2026-ep?ref=see-saw.fun) (check out [Drew B. Hall](https://www.instagram.com/drawbhell?ref=see-saw.fun)’s comics work), and [Jake King](https://jacobking.bandcamp.com/album/rock-and-roll?ref=see-saw.fun). --- If you like this podcast, please leave us a review + share it + subscribe! *Punk This Week* is a [Ruinous Media](https://www.ruinousmedia.com/?ref=see-saw.fun) podcast; thanks to Ruinous for their support. Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.funhttps://feeds.captivate.fm/punk-this-week/). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/see%5Fsaw.fun/?ref=see-saw.fun) and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). Have a question you’d like to hear addressed on the show? Want to talk about a new record we didn’t discuss? Want to send a HARD PIVOT bumper? Join us on the see/saw [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun) or email us: [see-saw@see-saw.fun](mailto:see-saw@see-saw.fun). *Punk This Week* is made possible first and foremost by see/saw subscribers. Please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-cola-t-models/#/portal/) if you enjoy this podcast. You’ll get ad-free and bonus episodes, plus the weekly [Punk This Week column](https://see-saw.fun/tag/punk-this-week/) and the [see/saw radio](https://see-saw.fun/see-saw-radio/) archive! _This post is for paying subscribers only._ ### punk this week: g2k, touch girl apple blossom, prisonnier du temps + 13 more URL: https://see-saw.fun/punk-this-week-g2k-touch-girl-apple-blossom-prisonnier-du-temps-13-more/ Last updated: 2026-05-19T22:54:16.000Z Hey, it’s Punk This Week. There’s a bunch of sick new stuff this week that’s worth getting excited about, so click through all the links. We’ve got the debut of power duo G2K—that’s Seth Sutton (Useless Eaters) and Sal Go (SEXFACES). There’s also new stuff from Touch Girl Apple Blossom, Prisonnier Du Temps, the Spatulas, Cell Deth, H8 Mile, and more. see/saw is a labor of love with no financial infrastructure beyond reader support, so Punk This Week column is paywalled beyond the first blurb. If you want to read about a bunch of new records every single week, [you’ve got to subscribe](https://see-saw.fun/punk-this-week-artificial-go-jazz-army-of-god-8-more/#/portal/) for $4/month or $40/year or [barter](https://see-saw.fun/bartering/). (see/saw is essentially NOTAFLOF so hit me up and we’ll work something out.) There’s a two-week free trial if you want to see what it’s like. Check out the weekly columns and [bonus podcasts](https://see-saw.fun/tag/jukebox/)! Most importantly, check out all these sick records. Have a good one. --- **G2K:** [***CONCEPT***](https://halo-fx.bandcamp.com/album/concept?ref=see-saw.fun) **\[HALO FX\]** Seth Sutton’s bar-surpassing return of Useless Eaters collides with Sal Go’s championship run with SEXFACES. Make no mistake, this is an event in the world of punk music…sorry, wait a minute. Have you been sleeping on G2K’s debut four-song collection *CONCEPT* because you skipped straight to Useless Eaters’ return with the fully available and clearly unbelievable new album [*MUSIC FOR CLOUT*](https://halo-fx.bandcamp.com/album/music-for-clout?ref=see-saw.fun)? That album is an undoubted event. You know what else is an event? The first release on Seth’s HALO FX imprint and the EP released one day before he dropped the album. It’s an absolute mega powers collision that stomps untold ass. Are you seeing what I’m saying about these two records??? Two events! *CONCEPT* presents as a demo in its title, its length, and its home-recorded nature. “GHETTO 2000” begins with the single strum of an electric guitar that crackles with static—a slow swell until this thing takes off like a caustic little homebrewed jet. Rock’n’roll hooks wallow in noisy mire and establish a foundation for the bass-heavy drum machine’s structural grid, these sick high-register fuzz guitar solos, and shout-sung unison vocals echoing off in the distance. “I ROCK I RAN” is an immaculate punk song, a lost perfect 7” blasted loud while somehow drowning about a block away. \[Ed.: It’s a Toxin III cover; sick version!\] These songs are humid, dense, and shockingly spatial for a lo-fi punk record. This EP ends abruptly, which is fucking mean, honestly. That song could be twice as long! There could be *more songs*. The hunger is insatiable, damn. *Useless Eaters’* [MUSIC FOR CLOUT](https://halo-fx.bandcamp.com/album/music-for-clout?ref=see-saw.fun) *is out digitally right now and coming to vinyl via Total Punk soon. I’m kind of respecting an unspoken embargo here by hanging back on a proper review, but you should know right now that it is extremely good and has occupied my imagination in a major way. It’s very much an example of a record that’s* [*worth buying twice*](https://halo-fx.bandcamp.com/album/music-for-clout?ref=see-saw.fun)*.* [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/05/a1490404551_10.jpg)](https://halo-fx.bandcamp.com/album/concept?ref=see-saw.fun) --- _This post is for paying subscribers only._ ### a picnic with portland punk lifers noxeema URL: https://see-saw.fun/a-picnic-with-portland-punk-lifers-noxeema/ Last updated: 2026-05-13T15:25:35.000Z Coming in on my own 20 years of being actively involved in DIY culture, the idea of being a lifer has been something I’ve pondered a lot lately. With so much in life feeling accelerated and temporary, and youth always being held in ideal, being a lifer is aspirational. Portland’s Noxeema is comprised of four folks I’d certainly consider lifers: Erin Yanke (drums), Cissie (bass), Katie B (vocals), and Marat (guitar). Each has an extensive punk CV, but when their powers combine, they form one of the best Portland punk bands of the last decade. Having released their [second EP](https://noxeema.bandcamp.com/album/sick?ref=see-saw.fun) this spring via New Orleans based label Raw Sugar records, [Noxeema](https://noxeema.bandcamp.com/?ref=see-saw.fun) reiterate what I love so much about their music. They sound purely punk in the broadest sense and the simplest terms, creating a short fast loud emulsion of individual inspirations and approaches to their instruments, unbothered by the stipulations of subgenre. Marat’s clean, lean chords slash sabres furiously, Cissie’s basslines rumble alongside like a motorbike, while Erin’s 4x4 drumbeats barrel roll the entire operation towards each song’s finish line. Live, Katie bops and pogos on the mic, electrically charged by the band’s collective wailing, metaphorically spitting out barbs against the frequently fucked state of affairs and their inevitable impact on the mind and body. On the cusp of their record release this spring, I sat with the band in the front yard of Erin’s house, moving the table out of the shade of the tree and into the afternoon sun so we could relish in the first real warm weekend of the season. Living right off a major city street, Erin’s house is tucked back away from the traffic and the neighborhood is abuzz with outdoor activity. People are tilling in their gardens, bikes are clicking past, and in the house next door, some kids are singing along to Gloria Gaynor’s “I Will Survive” on karaoke. The band waved at another neighbor, with Erin adding: “She’s the fifth member of Noxeema.” The band and I gathered around the picnic table for a snack of banana bread, coffee, and crudité with hummus and homemade vegan ranch for dipping to discuss their new EP and the current state of lifer-hood in the city. --- **OK, the name Noxeema, did it come from the skincare company or was it from Wesley Snipes’ character Noxeema Jackson from *To Wong Foo, Thanks For Everything! Julie Newmar*?** Katie:OK, this is literally how the conversation went. We were trying to think of band names, we said a few I don’t remember, and then Cissie said: “Eczema, I like the word eczema.” And I said, “I have eczema…” And she was like, “so do I!” Then I said, “Did you know that Noxzema was originally a skincare for eczema? *No Eczema.*” And then Cissie said: “I like Noxeema.” **It’s got that satisfying graphic look, of N’s and X’s and E’s. No matter how you write it out, it looks cool.** Katie: Yeah, that definitely came up. **But I had to double check because it was the same spelling as the movie character.** Erin: We didn’t even know, we found out afterwards! Katie: I finally saw that movie recently because we played it at work. **I was reading something about your new record and how it was your first since 2019\. Seven years seems like a long time, but you factor in we had a pandemic. Sometimes that feels like another lifetime, and I think there’s a little bit of denial in that loss of time from it…** Katie: Yeah our last record came out November of 2019, and then the world changed. Cissie: We also just move slow. **Are you a weekly band practice type band? Do you write together?** Cissie: When we’re all around we do. But we take vacations, take time off or get too busy or whatever. So sometimes we don’t practice. Erin: But it’s been pretty steady. We’d still meet up every week during the pandemic, on Zoom, go to the park, drink coffee. We’re consistent, we’re just slowly consistent. **For the nine songs on the record, was that whittled down from more, like the best nine out of twenty or…** Cissie: There was a couple we rewrote and were just like nah. Erin: Whittled down from, like, 12\. Katie: There were some songs I wrote lyrics to, but never liked them and never rewrote them until I made an assignment for myself. **Writing songs is hard! Especially as a collective effort!** Marat: Maybe it’s not that hard, and maybe it sounds weird, but maybe it’s just not our priority as a band. We could probably do ten songs in three months. Katie: I’d slow us down for sure. Marat: We’re consistent about practicing, but it’s not this churning, productive atmosphere. It’s also just hanging out. I think a band should be a vehicle for creating community and being with your friends. Cissie: We usually practice 20 or 30 minutes and hang out for an hour and a half or more. Erin: Yeah, when we stopped practicing on Saturdays, the coffee guy on the corner got real concerned. “Where’s the band? What happened?! Did you break up?” No, we just switched practice days. Cissie: Also, the pizza shop down the street, Sparky’s. They know us too. We’re always going there after practice. ![Noxeema’s Sick 7" artwork](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/05/a1757989437_10.jpg) Noxeema’s Sick 7" artwork **There’s going to be a lot of attention on you, Katie, because I really love the lyrics on the record. There’s a lot of songs dealing with the body and the outside world affecting the body. Specifically the song “Sick.” There’s been so many songs in punk about being “sick of \_\_\_\_\_\_\_,” but your song, it feels like “the problems of the world and capitalism are genuinely causing me illness and discomfort.” Without getting too personal about it, if you don’t want to, I was wondering about your experience with that?** Katie: At the time when I wrote it, I was in natural medicine school to become an acupuncturist, so I was thinking about it all the time. But I’ve had chronic health issues for over two decades, so it’s just something I think about all the time. It’s also on multiple levels: physical, emotional, mental, spiritual. I feel like, especially for highly sensitive people, they just notice it more, how it can get trapped in your body and physically affect you. It can come in different ways, but comes out in illness if you don’t deal with it or you don’t have a way to deal with it. It doesn’t necessarily mean therapy, but for some people, it sticks more to them than others, and for some others it rolls off their shoulders. I feel like it plays a part and affects everyone mentally. I think about the macrocosm/microcosm a lot. If you look at what’s happening with the Earth and the climate, the disaster that’s happening with that. So of course, everyone on a microlevel is freaking the fuck out. We’re all a reflection of the macrocosm. **I really loved the lyrics to “River.” You mention in the liner notes it being inspired by the author RF Kuang, as well as a conversation with the activist adrienne maree brown and the comedian Morgan Bassichis. I was wondering what specifically were you pulling from these inspirations?** Katie: I wrote that song in October 2023\. That image literally came from RF Kuang’s book *Babel*. I was listening to the audiobook in my car, and there was that line in the book, so I paused it and made a voice recording in my notes app of that line. “Stick your fingers in the mud, you can’t stop the river from flowing.” I was thinking I had to make a song around this idea. Then October 7 happened, and I listened to this Instagram Live between adrienne marie brown and the other person, a vocal person for Jewish Voice for Peace, having a conversation about Palestine. Some dam imagery came up in the conversation, which I was also wanting to incorporate into the song. Directly used some ideas from that, but I can’t remember the total specifics. Are you familiar with that book \[*Babel*\]? You should check it out. **Not not at all. But if it’s a Noxeema recommendation…** Marat: It’s great! Erin: I intend to read it. **In the last issue of my zine, I was really getting into the idea of lifers.** \[*everyone giggles*\] **And I every time I bring this up, people giggle, as the word sorta implies getting old and no one likes to be considered “old.”** Erin: My mom, who’s 81, everytime someone says old, she goes: “Old-*er*, I’m just older.” **Erin, I know on your website, you have “lifer” on there as a point of pride. An honorific. Do you guys feel like lifers?** Marat: I don’t know if I’m a lifer or not, but I think if anyone finds a reason to do something creative, being involved in making music, that’s a great thing. Conversely, if people lose that passion for some reason, it’s okay to let things go. ![Noxeema's record release show at Portland's Black Water Bar, photo by Darren Plank](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/05/Noxeema-Black-Water-5-9-2026-002.jpg) Noxeema's record release show at Portland's Black Water Bar, photo by [Darren Plank](https://www.instagram.com/convertidophotography%5F?ref=see-saw.fun) **It’s that sense of play and creativity that I wonder if people are made to let go of, going from childhood to adulthood. Being creative, using your imagination, and being involved in DIY keeps you in that realm of enjoyment and creativity. I want to continue to keep doing that and finding community through it.** Erin: I think learning how to figure shit out is the basis of my experience with punk rock. Somebody you know is doing something cool. How do you do it? You figure it out, you ask questions. Those are amazing life skills that people don’t have anymore. That comes up a lot with working with people who are younger—how do you create a world that is challenging enough for people to get skills that doesn’t go over into trauma. How I grew up, people could say, “Oh my god that’s child abuse!” It didn’t feel like neglect, it was just latchkey kids, but there was just a point of figuring things out that I really appreciate about us—the punks and the weirdos. I think being a lifer is realizing that I’ve made enough of my own world that I don’t have to figure out how to fit in. I can keep doing it myself. I have a fantastic life, and while there’s a lot of normal people stuff that I don’t know how to do very well, I don’t have to. Maybe it will come and bite me in the ass later, but so far so good. Fuck it. It’s great. The way that I approach thinking about being a lifer, is living, not putting shit off, being engaged with the world, being committed to our people and being present in my own life. **That’s a great way to think about it. It’s about learning and developing skills, and I feel like people stop learning at a certain point, lose that curiosity. People graduate college, I graduated high school.** Erin: “Now I know everything!” Cissie: “I have my family, I’ll focus on that.” Erin: Focus on the Family... \[*everyone groans and laughs*\] Katie: I used to do visual art all the time, but I never do anymore. The band is the only creative endeavor I’m attached to right now, so it’s really important for me. I feel really busy and not very good at time management. I’d love to do other creative things, but I haven’t figured that out at this point. Back to the lifer thing: It’s kinda cool to be in a different place in life where I’m middle aged, still in the scene, but through a totally different lens. **And you have the whole rest of your life to explore those sides.** Marat: I feel like I wanna say this thing explicitly that we are all kinda dancing around. I think work just steals so much of our time. People stop being involved in punk or whatever because maybe they lose some kind of motivation or magic, but also it’s hard to work 40+ hours a week and have the energy to be involved in creative things. **It’s always that thing of work. I have to do this 40 hours a week, or more, to make these other things happen. I do this fucking job so I can do everything else.** Marat: But then you don’t have the time or energy! **Exactly. Then it goes into those questions of how much self-care and recharging, “do I gotta keep making it happen” kind of thing. Those are all personal decisions.** Erin: And it’s a spectrum, you can totally go too hard one way or another. You don’t have to get stuck in a spot, which I think people who have quit punk run into. “If I don’t have to do everything, I’ll just do nothing. Fuck it, I’m going to go work in an office and forget I ever was a punk rocker.” Or get burned in some personal way. But you don’t have to quit forever, either. There is this huge spectrum, and I think part of being lucky enough to live here when it was fuckin’ cheap is that I could set the habits of doing stuff and staying busy. Then increasingly, having job stuff take on more and more necessity and also importance. I’ve been lucky enough to have jobs where I love the work I’ve been doing, which has not always been true. It balances out, so for me, it’s more of a wave of when you’re involved or not. When the scene gets stagnant, it’s usually when people just stick to their roles. The people that just go to shows and buy records don’t ever switch, and the people that are always doing stuff (like booking shows) feel like there isn’t anyone to take their spot. They burn out or quit. Then they feel like they can’t go back after. The magic of punk rock is not having anyone tell you who you are, and you can change at any moment. And I think one of the good things about Portland is the variety of ages. You can stop doing stuff because new young people will come in and take over, and change things you’ve done, make it cooler and weirder or whatever. **Does punk still feel like a liberating, inspiring space? What keeps you coming back to the well?** Marat: I’d say yes, but you have to keep working at it. Keep seeking out people you find inspiring, encounter people you find affinity with. **And speaking of finding affinity, who are your favorite Portland bands at the moment?** Cissie: Right now, I really like Piggy Bank. Marat: Piggy Bank, Arsenal Mall, Love in Hell, Retirement \[*Cissie’s other band*\]. Erin: Justin and Candy always have great bands \[*Dark/Light and Era Bleak, among others.*\] Watching Justin play drums again is just a joy. --- [*Corby Plumb*](http://instagram.com/totally%5Fdifferent%5Fhead/?ref=see-saw.fun) *is the Portland-based writer behind the* Totally Different Head *zine.* *see/saw is a reader-supported publication. If you enjoyed this article, please share it and* [*subscribe*](https://see-saw.fun/#/portal/)*.* ### punk this week podcast: cola + t-models URL: https://see-saw.fun/punk-this-week-podcast-cola-t-models/ Last updated: 2026-05-12T21:35:29.000Z [Punk This Week](https://see-saw.fun/tag/podcast/) *is see/saw’s weekly podcast from co-hosts Evan Minsker and Nina Corcoran—a discussion of the latest and greatest in the world of punk rock. We talk about six new punk records we’re loving from the past week. Ad-free and bonus episodes are available only to paid* [*see/saw subscribers*](https://see-saw.fun/punk-this-week-podcast-no-peeling-heathen-axe/#/portal/)*with the link at the bottom of this page!* Evan tries root beer float cereal, Nina orders an alcoholic root beer, and we both go see Reno’s [Rotary Club](https://see-saw.fun/rotary-club-could-only-be-reached-via-reno-bus-station-payphone/) on their conquering tour of the Midwest. We both admit that we wish we had fancy globe bar carts in our respective offices, and we pay our respects to [Greedo’s dying word (2019)](https://www.youtube.com/watch?v=3g6pDeGG8oc&ref=see-saw.fun). This week we’re getting into new records from Cola, T-Models, Fiona Slide, Automatic Lovers, open carry state, and King Automatic. Remember to grab a copy of [*teeter/totter: a see/saw benefit*](https://see-sawdotfun.bandcamp.com/album/teeter-totter-a-see-saw-benefit?ref=see-saw.fun)*.* --- *Punk This Week* is a [Ruinous Media](https://www.ruinousmedia.com/?ref=see-saw.fun) podcast; thanks to Ruinous for their support. Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.funhttps://feeds.captivate.fm/punk-this-week/). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/see%5Fsaw.fun/?ref=see-saw.fun) and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). Have a question you’d like to hear addressed on the show? Want to talk about a new record we didn’t discuss? **Want to send a HARD PIVOT bumper?** Join us on the see/saw [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun) or email us: [see-saw@see-saw.fun](mailto:see-saw@see-saw.fun). *Punk This Week* is made possible first and foremost by see/saw subscribers. Please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-no-peeling-heathen-axe/#/portal/) if you enjoy this podcast. You’ll get ad-free and bonus episodes, plus you’ll learn about way more new punk records! _This post is for paying subscribers only._ ### punk this week: artificial go, jazz, army of god + 8 more URL: https://see-saw.fun/punk-this-week-artificial-go-jazz-army-of-god-8-more/ Last updated: 2026-05-08T21:19:00.000Z Hey, it’s [Punk This Week](https://see-saw.fun/tag/punk-this-week/). The past couple weeks have been wild; 42 blurbs in two weeks is a lot of records! Let’s take a breath this time and focus on the 11 most exciting releases out there, including a new single from Artificial Go and the latest punisher from Unlawful Assembly. see/saw is a reader-supported independent publication, so if you want blurbs about all the great new punk records delivered to your inbox every week, [you’ve got to subscribe](https://see-saw.fun/punk-this-week-winston-hightower-choncy-media-puzzle-13-more/#/portal/) for $4/month or $40/year or [barter](https://see-saw.fun/bartering/). (see/saw is essentially NOTAFLOF so hit me up and we’ll work something out.) There’s a two-week free trial if you want to see what it’s like. The perks are weekly columns, [bonus podcasts](https://see-saw.fun/tag/jukebox/), and the radio archive. --- **Artificial Go: “**[**Triple Ones**](https://artificialgo.bandcamp.com/album/triple-ones?ref=see-saw.fun)**” \[Carpark\]** In their first single after signing to Carpark, the outstanding Cincinnati band Artificial Go step forward with traces of the same bouncy ebullience from their first two albums. The guitar leads, catchy as always, are played with a light touch; every player here lends a nimble effortlessness to their approach. But there’s also a slight grit bristling along in the mix. Maybe it’s Angie’s shaker rattling through a song where the narrative is standing up for oneself. “Explain to me your thought process,” she sings from her gut. There’s an authoritative tone here that’s appropriately shaky for frustrated confidence. Nobody wants to be in that position, but we all find ourselves there one way or another. Following Angie and Micah Wu’s lovely folk duo [Age of Peace](https://ageofpeace.bandcamp.com/album/ode-to-life?ref=see-saw.fun) record, it’s nice to hear a return that’s forceful, but not artificially so. --- _This post is for paying subscribers only._ ### see/saw jukebox: king tuff URL: https://see-saw.fun/see-saw-jukebox-11-king-tuff/ Last updated: 2026-06-04T22:11:20.000Z [*see/saw jukebox*](https://see-saw.fun/tag/jukebox/)is a bonus podcast about perfect punk records from *Punk This Week* hosts Nina Corcoran and Evan Minsker. Each episode, we’re joined by special guests to curate perfect punk records for a mythical jukebox. This time, we sit with Kyle Thomas on a video call; he spoke from his home in Brattleboro, Vermont. This discussion took place just prior to the release of the new [King Tuff album *MOO*](https://kingtuff.bandcamp.com/album/moo?ref=see-saw.fun); he’s [on tour behind the album](https://www.instagram.com/p/DT-yq68AbxJ/?ref=see-saw.fun) now! We talked about records from across his discography, his Happy Birthday bandmates Ruth Garbus and Chris Weisman, playing with Ty Segall in the Muggers, the state of Vermont, and of course, perfect punk records to add to the jukebox. All episodes of *see/saw jukebox* are available exclusively to [paid see/saw subscribers](https://see-saw.fun/see-saw-jukebox-10-touche-amores-jeremy-bolm/#/portal/) ($4/month or $40/year or [barter](https://see-saw.fun/bartering/) \+ there’s a two-week free trial)! Subscribe and listen below. _This post is for paying subscribers only._ ### punk this week podcast: no peeling + heathen axe URL: https://see-saw.fun/punk-this-week-podcast-no-peeling-heathen-axe/ Last updated: 2026-05-06T15:52:10.000Z [Punk This Week](https://see-saw.fun/tag/podcast/) *is see/saw’s weekly podcast from co-hosts Evan Minsker and Nina Corcoran—a discussion of the latest and greatest in the world of punk rock. We talk about six new punk records we’re loving from the past week. Ad-free and bonus episodes are available only to paid* [*see/saw subscribers*](https://see-saw.fun/punk-this-week-podcast-assembly-subtle-turnhips/#/portal/)*with the link at the bottom of this page!* How does Max Rebo get into that circular keyboard? What’s he wearing under there? One thing’s for certain: He’d smoke Dr. Teeth in a battle set. We discuss these possibilities, shout at George Lucas, eat some cookies, and discuss a stacked week’s bevy of riches by [No Peeling](https://nopeeling.bandcamp.com/album/ep2-2?ref=see-saw.fun), [Heathen Axe](https://johndwyer.bandcamp.com/album/heathen-axe?ref=see-saw.fun) (John Dwyer’s new band), [Puzzlehead](https://inuwanwan.bandcamp.com/album/chessman-hazard-codechange-household?ref=see-saw.fun) (check out *Big Sniff* too), [World Peace](https://worldfuckingpeace.bandcamp.com/album/for-no-man-shall-see-me-and-live?ref=see-saw.fun), [Mock Execution](https://unlawfulassembly.bandcamp.com/album/mock-execution-democracy-shoved-up-your-ass?ref=see-saw.fun), and the split from [Maxshh and Crimson Blue](https://maxshh.bandcamp.com/album/neither-handed?ref=see-saw.fun). Also: There’s another new HARD PIVOT! Be sure to pick up a copy of [*teeter/totter: a see/saw benefit*](https://see-sawdotfun.bandcamp.com/album/teeter-totter-a-see-saw-benefit?ref=see-saw.fun). More physical copies are being made. --- *Punk This Week* is a [Ruinous Media](https://www.ruinousmedia.com/?ref=see-saw.fun) podcast; thanks to Ruinous for their support. Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.funhttps://feeds.captivate.fm/punk-this-week/). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/see%5Fsaw.fun/?ref=see-saw.fun) and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). Have a question you’d like to hear addressed on the show? Want to talk about a new record we didn’t discuss? **Want to send a HARD PIVOT bumper?** Join us on the see/saw [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun) or email us: [see-saw@see-saw.fun](mailto:see-saw@see-saw.fun). *Punk This Week* is made possible first and foremost by see/saw subscribers. Please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-assembly-subtle-turnhips/#/portal/) if you enjoy this podcast. You’ll get ad-free and bonus episodes, plus you’ll learn about way more new punk records! _This post is for paying subscribers only._ ### playlist: the 60 best punk songs of april 2026 URL: https://see-saw.fun/playlist-the-60-best-punk-songs-of-april-2026/ Last updated: 2026-05-05T15:07:42.000Z Being a member of the corporate music media who worked nights and weekends meant not getting out to as many shows. There was this culture at Pitchfork that I wasn’t part of, and I had to make my peace with that pretty early on. My coworkers were in New York City going to shows and hanging out together; I was a Midwest night owl watching the wall so my colleagues could log off at the function. It was my teenage dream job, and it required pragmatic compromise. “Hey, could you please remember to not cc me on these emails,” I once told an editor when informed of free donuts in the New York City break room. In the past couple years after that job, I’ve been around a lot more—staying out late at shows, giggling and bullshitting with the homies in backyards and parking lots. Most of the people I talk to at shows are in bands that I really like, which is a loose kind of tension since I’ve probably written something about them (and can’t remember for the life of me what I said). Still: I’m an observer, a listener, a sponge for gossip—an absolute pig in shit. One year after starting see/saw, I was standing outside with my back against a venue during a rainstorm while a guy in a band I love told me that I should be more negative as a critic. I explained that it really wasn’t where I was as a writer. Punk—the music, community, and everything that word implies—was a buoy out of a dark period. Negativity would feel manufactured and artificial, so I just didn’t write about the bad stuff. I called see/saw a love letter to punk and rock'n'roll in its nascency, and that’s still very much the case. Two years in, I still get stoked about new records every week. I love hearing about new bands forming and records on the horizon. I’m probably gradually getting bitchier as a punk writer when I hear mediocre music from a legacy artist who can and has done better, but then I spend more of my energy writing 2,000-word columns about the exciting stuff in a given week. Then I go to shows and geek out with my friends about punk records. [*teeter/totter: a see/saw benefit*](https://see-sawdotfun.bandcamp.com/album/teeter-totter-a-see-saw-benefit?ref=see-saw.fun) is a compilation spawned from my life both as a hermetic music writer and a social butterfly with ringing ears. There are bands that I’ve admired from afar and never met; there are artists I’ve been fortunate enough to get to know a little bit. It’s all new songs benefiting the Palestine Children’s Relief Fund and the Immigrant Defense Network. So far, I’ve donated $1,000 to each organization from proceeds. Thanks to everyone who’s checked it out, and more tapes are coming soon if you missed out the first time. April was a powerful month for new punk records. These are the songs I liked the best (including two picks from the aforementioned see/saw comp). --- [**see/saw’s 60 best punk songs of april 2026**](https://www.buymusic.club/list/seesaw-best-punk-april-2026?ref=see-saw.fun) Media Puzzle: Knowledge Oddfellows: The Burden Fül Coverage: Fool Coverage Answering Machines: Crushing Blow Triple Ente: Los Pájaros Eddy Current Suppression Ring: I Need Some Space G.R.O.M.I.T.: What Can You Do Tonya: The Obstacle Body Shop: Fallacies The Tubs: Fade to Black Yleiset Syyt: Sotakoneet Puzzlehead: Inventory CS Cleaners: What’s That? Collaps: You Don’t Get Shit Useless Eaters: CONTRAST Brendan Wells: I Rent Sleep Cult: Boring Tórax y Las Extremidades: Combustión espontánea Billiam: Barbie Doll Brains \[Plastic Toy Mix\] Five Bucks: Metal Fumes Fever Mopar Stars: Feast for the Smile Choncy: Just Like Them Taxi Girls: Say It! Cronies: rose GÖTRI: YOUR UTOPIA, MY DYSTOPIA Awesome Snakes: Money (censored) The Subletters: Polishing a Knife Urq: This Dismal Village Subtle Turnhips: Pink Syd 700 Club: Black Iron Prison Shaved Ape: Gutless Democracy: Violent Dreams Mary Jam: REST IN PISS Surrealistic Pillhead: Chaos Stone Robber Robber: Talkback Winston Hightower: Selfish Soother Assembly: Spotlights Season 2: Holiday Skintern: Floorboards Gentilesky: Heavenly Body Clubhouse: Scum of Society Termite: Panic Hotline Socke: Unten Violet Bloom: Cognito (I Am) La RAF: Desposeídos Witch Piss: Barbarian Edging: This Head snarewaves: New Butt L.O.T.I.O.N. Multinational Corporation: Boots on the Ground Power Pants: Checkout Gurl Esperanza: Decay Yambag: Nerve Damage Wax Head: Bug Doctor Subjects: Stutterer Dasgüt: Alcoholic Evil Weevil: Jenny Is a Fig Wasp National Photo Committee: Before the Feeling’s Gone Dillinger Four: Don’t Happy Be Worry Commitment: Pluto in Aquarius Poison Ruïn: Lily of the Valley --- *If you enjoyed this playlist, please consider sharing and* [*subscribing to see/saw*](https://see-saw.fun/#/portal/) *(a reader-supported publication).* ### punk this week: the sleeveens, heathen axe, puzzlehead, mock execution + 17 more URL: https://see-saw.fun/punk-this-week-the-sleeveens-john-dwyer-puzzlehead-mock-execution-17-more/ Last updated: 2026-05-01T22:57:06.000Z Happy May Day. It’s [Punk This Week](https://see-saw.fun/tag/punk-this-week/), the regular punk and rock’n’roll recommendations column. It’s another week that spills over with treasures—established and brand new bands from all over the world. John Dwyer’s new band Heathen Axe, plus Puzzlehead, No Peeling, Mock Execution, the Sleeveens, Answering Machines, Brendan Wells, Useless Eaters, Memo PST, Fentanyl, Genre Is Death, and IRKED all releasing new stuff in the same week is honestly wild. I legally have to mention [*teeter/totter: a see/saw benefit*](https://see-sawdotfun.bandcamp.com/album/teeter-totter-a-see-saw-benefit?ref=see-saw.fun) here at the top of the column. It’s 28 previously unreleased punk songs compiled under the aesthetic banner “punk is for the children” with proceeds going to the PCRF and the Immigrant Defense Network. It features Eddy Current Suppression Ring’s new banger “I Need Some Space,” Awesome Snakes’ first new material since 2009, a hard drive pull from Twisted Teens, a demo from the upcoming Eraser album, and way more gold beyond those four. Back to business: see/saw is reader supported, so if you want blurbs about great punk records delivered to your inbox every week, [subscribe](https://see-saw.fun/punk-this-week-white-fence-shaved-ape-urq-18-more/#/portal/) for $4/month or $40/year or [barter](https://see-saw.fun/bartering/). (NOTAFLOF, hit me up!) There’s a two-week free trial if you want to check it out. The perks are weekly columns, [bonus podcasts](https://see-saw.fun/tag/jukebox/), and the radio archive. Any support is genuinely massive. Thanks for considering. Have fun this weekend. --- **The Sleeveens:** [***National Anthem***](https://thesleeveens.bandcamp.com/album/national-anthem?ref=see-saw.fun) **\[Goner\]** The title track of the new album from Nashville rock’n’soul barflies the Sleeveens closes out the album, because what could possibly come after it? It’s a scathing criticism of an imperialist country that we’re all deeply fucking sick of. The grizzled voice of Stefan Murphy pulls no “fuck”s. If you’re going to decry a country’s most fucked up policies, we’re cussin’ in here. It’s a sentiment delivered straightforwardly on one of the band’s catchiest songs to date. A couple other exceptional songs on this album really cement what makes the Sleeveens stand out in a field of rock bands with soul shouters up front. Stefan’s voice does the job well, but this band does not have a Shogun or Greg Cartwright to hurtle them into the stratosphere. On a record where sometimes the instruments and songbook do the heaviest lifting, this dude’s vocals shine particularly on three songs: the title track, “Ernest and Julio,” and “Six Counties Punk.” That’s where you hear the most life and personality behind these incredible hooks that he’s singing—where things really light all the way up. *National Anthem* is worth the price of admission just for its final song alone, but the journey getting there—including that kickass Walkmen cover—will make you wish that you were shouting along live at the stickiest bar. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/05/a0966179815_10.jpg)](https://thesleeveens.bandcamp.com/album/national-anthem?ref=see-saw.fun) --- _This post is for paying subscribers only._ ### teeter/totter: a see/saw benefit compilation URL: https://see-saw.fun/teeter-totter-a-see-saw-benefit-compilation/ Last updated: 2026-04-30T13:42:06.000Z [*teeter/totter: a see/saw benefit*](https://see-sawdotfun.bandcamp.com/album/teeter-totter-a-see-saw-benefit?ref=see-saw.fun) is a compilation featuring 28 new punk songs. Some punk music is accidentally perfect children’s music. I know a lot of kids who like boppin’ around to great punk songs, including my own kid. That was the prompt behind this new benefit comp, and some of the best punk musicians in the world came through in a big way. Proceeds from this one will be split between the [Palestine Children’s Relief Fund](https://www.pcrf.net/?ref=see-saw.fun) and the [Immigrant Defense Network](https://immigrantdefensenetwork.org/?ref=see-saw.fun). It’s a compilation to benefit kids who need help, and it’s a compilation that kids might have fun listening to. Featuring 1-800-MIKEY, Answering Machines, Awesome Snakes, Big Clown, Boo/Hiss, Bugg Music, Cherry Cheeks, Choncy, Dorothy Fuzz, Eddy Current Suppression Ring, Eraser, Feeling Figures, Flippeur, Guiding Light, Guyscrapers, Good Flying Birds, Harry W., Heather the Jerk, Judy and the Jerks, Mr. \[Redacted\], Radical Man and Skateboard Jim, the rotting lobes (members of Puppet Wipes), Silicone Prairie, sprgrs, Twisted Teens, URO (members of M.A.Z.E.), Van Goth, and Yuasa-Exide. The track from Minneapolis’ Awesome Snakes is the first new recording from the band since 2009\. If you purchase the comp, the uncensored version is available as a bonus download. I curated the compilation, [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) did the artwork, Cavity Creeps (Heather and Josh from Boo/Hiss) are making a super limited run of tapes, and Andres Wade did the final master. Thanks for checking it out and thanks to everyone who contributed to this one. Punk is for the children. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/04/a0092766177_10.jpg)](https://see-sawdotfun.bandcamp.com/album/teeter-totter-a-see-saw-benefit?ref=see-saw.fun) ***teeter/totter: a see/saw benefit*** 01 Guiding Light: Swinging and Stuck 02 Yuasa-Exide: Pissed 03 Eraser: DVD (demo) 04 Bugg Music: Bugg Babe (Ava's Song) 05 URO: Utsutsu 06 Awesome Snakes: Money 07 Mr. \[Redacted\]: Evaporated 08 Answering Machines: New Song 09 sprgrs: Papiroflexia 10 Choncy: SLUG 11 Harry W. - Playing Jazz With the Homies 12 Eddy Current Suppression Ring: I Need Some Space 13 Big Clown: Lizard Time 14 Silicone Prairie: Way Out 15 Guyscrapers: Washing Machine 16 Van Goth: Nap Time 17 Cherry Cheeks: Spider 18 Heather the Jerk: Write a Letter 19 Feeling Figures: Fall Away (Sugluk cover) 20 1-800-MIKEY: Drain My Dopamine 21 Dorothy Fuzz: T.V. 22 Radical Man and Skateboard Jim: Party in the World 23 Twisted Teens: Public Nuisance 24 Judy and the Jerks: Outside 25 the rotting lobes: confessions of a rotting lobe 26 Flippeur - Echec Social 27 Good Flying Birds: I Care for You (demo) 28 Boo/Hiss - Here It Comes Again ### punk this week podcast: assembly + subtle turnhips URL: https://see-saw.fun/punk-this-week-podcast-assembly-subtle-turnhips/ Last updated: 2026-04-29T03:28:27.000Z [Punk This Week](https://see-saw.fun/tag/podcast/) *is see/saw’s weekly podcast from co-hosts Evan Minsker and Nina Corcoran—a discussion of the latest and greatest in the world of punk rock. We talk about six new punk records we’re loving from the past week. Ad-free and bonus episodes are available only to paid* [*see/saw subscribers*](https://see-saw.fun/punk-this-week-podcast-media-puzzle-choncy/#/portal/)*with the link at the bottom of this page!* Evan develops a burgeoning [*Vampire Crawlers*](https://store.steampowered.com/app/3265700/Vampire%5FCrawlers%5FThe%5FTurbo%5FWildcard%5Ffrom%5FVampire%5FSurvivors/?ref=see-saw.fun) addiction. Nina remembers some classic letters penned to her neighbors in *Animal Crossing* (2002). Which M&M is a union buster? Is Nina terrified of [J.K. Simmons’ veiny guns](https://www.menshealth.com/uk/fitness/a62824607/jk-simmons-workout-red-one/?ref=see-saw.fun)? All this and a discussion of records by [Assembly](https://bandassembly.bandcamp.com/album/party-trick?ref=see-saw.fun), [Subtle Turnhips](https://sdzrecords.bandcamp.com/album/septentinoriel?ref=see-saw.fun), [Urq](https://urqurq.bandcamp.com/album/this-dismal-village?ref=see-saw.fun), [GÖTRI](https://gotri.bandcamp.com/album/your-utopia-my-dystopia?ref=see-saw.fun), [Cronies](https://ragdollrecords.bandcamp.com/album/demo-5?ref=see-saw.fun), and [Fül Coverage](https://flcoverage.bandcamp.com/album/f-l-coverage?ref=see-saw.fun) during a wildly stacked week for punk music. --- *Punk This Week* is a [Ruinous Media](https://www.ruinousmedia.com/?ref=see-saw.fun) podcast; thanks to Ruinous for their support. Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.funhttps://feeds.captivate.fm/punk-this-week/). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/see%5Fsaw.fun/?ref=see-saw.fun) and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). Have a question you’d like to hear addressed on the show? Want to talk about a new record we didn’t discuss? **Want to send a HARD PIVOT bumper?** Join us on the see/saw [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun) or email us: [see-saw@see-saw.fun](mailto:see-saw@see-saw.fun). *Punk This Week* is made possible first and foremost by see/saw subscribers. Please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-media-puzzle-choncy/#/portal/) if you enjoy this podcast. You’ll get ad-free and bonus episodes, plus you’ll learn about way more new punk records! _This post is for paying subscribers only._ ### ypsi’s tongue + the act of sludgy punk as resistance URL: https://see-saw.fun/ypsis-tongue-the-act-of-sludgy-punk-as-resistance/ Last updated: 2026-04-27T19:56:42.000Z Ann Arbor, Michigan is a not so small college town, home to the real estate investment firm known as the University of Michigan. The streets are clean, the spaces green (in the warmer months, at least), and there are drunk twenty-somethings and millionaire NIMBYs as far as the eye can see. It’s even got a Bitcoin cafe. It’s a place designed for the customers of the university and their rich parents. But one town over is the smaller, scrappy sister town of Ypsilanti. Home to Eastern Michigan University, the portfolio of the slumlord Stewart Beale, and a world famous phallic water tower, we don’t have the billions of dollars Ann Arbor has, but we do have a strip club. Ypsi is a bit (and I mean just a bit) cheaper to live in, so it’s where most of the people who do the real work in Ann Arbor end up calling home. In this working class town, under the shadow of the Big Brick Dick, lurks a dedicated punk scene that rivals much bigger cities like Detroit. Ypsi is where you’ll find a rotating cast of the same folks forming and reforming new bands. One of the best ones going is the three-piece [Tongue](https://tongue4.bandcamp.com/album/immaculate-misconception-2026-demo?ref=see-saw.fun). Formed from the ashes of the band [Sex Change](https://sexchange.bandcamp.com/album/mayor-mccheese?ref=see-saw.fun), Darby (vocals) and TJ (guitar) recruited fellow local stalwart drummer Justin (of [Lord Centipede](https://morbidandmiserable.bandcamp.com/album/centipede-ii-electric-boogaloo?search%5Fitem%5Fid=3505321770&search%5Fitem%5Ftype=a&search%5Fmatch%5Fpart=%3F&search%5Fpage%5Fid=5267280331&search%5Fpage%5Fno=0&search%5Frank=1&ref=see-saw.fun), Bubak). Tongue exists at the odd intersection of sludge and punk. The band travels between slow heavy riffs and punishing three-chord fury, just to somehow meld them seamlessly. Darby leads the charge with raspy whelps that sound like dragging a cinder block across hot pavement (compliment), while TJ lifts the whole burden of song structure on her shoulders. With just one half stack and a small pedal board, she creates heavy riffs and blackened assaults as a wall of melodic noise. Meanwhile, Justin switches from slow punishing patterns to d-beat rage effortlessly as only a veteran drummer can. It’s a good fucking time, is what I’m saying. At a spot called Parts & Labor just south of Dearborn and Detroit, I met up with them in my car after their set to talk about the band and their future. The chat was ultimately interrupted by a tap on the window. The doorman had been looking for the band as they were closing up and they still needed to grab their gear. They recorded and [shared their demo](https://tongue4.bandcamp.com/album/immaculate-misconception-2026-demo?ref=see-saw.fun) not long after we sat down for this conversation. --- **You’re all veterans of the Ypsilanti scene. What led to this band forming and how is it different from your previous bands?** Justin: TJ got a hold of me, telling me that her and Darby were starting a new band and wondering if I wanted to play the drums and kind of explained it as like a sludgy, crusty kind of thing and I was like, "Yeah, that sounds sweet." Darby: Yeah, leading up to Tegan reaching out to Justin, when Sex Change was winding down, Tegan and I had been chatting about still really needing a creative outlet. And I remember saying, “I’m going to fucking kill myself if I don’t have this space to create anymore.” And we had been kind of talking back and forth on who would be interested in jamming with us. We fucking love [Lord Centipede](https://morbidandmiserable.bandcamp.com/album/centipede-ii-electric-boogaloo?ref=see-saw.fun) and [Bubak](https://bubak.bandcamp.com/?ref=see-saw.fun) (Justin’s other bands). TJ: Bubak is especially so sick. And Justin has blown my mind at a bunch of fucking Bubak shows before. I was like, "Oh, fuck, I don’t know. I guess I’ll just ask him cold ’cause we never really hung out or anything.” But then we got together and he was into it. He just was like, "Oh yeah, I’ve been thinking about taking on a new project ’cause Bubak ended." Darby: For me, it was fucking perfect because me and Christy \[Justin’s wife\] had been friends since high school and so I’d hung out a little bit with Justin like cutting your hair, when I cut Christie’s hair, and like smoking weed. So I was like, “No, dude. Justin’s super chill. You should totally ask Justin. I think that would be really fun.” And it’s been fucking rad. I’ve been having so much fun playing with you guys. Justin: Yeah, it’s awesome. And thanks for saying nice stuff. Darby: I mean it. Justin: It’s really been a lot of fun, though. And it’s totally different than any band I’ve ever played in before, so I'm happy about it. **Except for tonight, you almost exclusively played benefit shows for causes like a homeless mutual aid house and students being captured by ICE. I know you guys outside of the band through organizing work I’ve done. Is it important for you to mix politics and music?** Darby: One hundred percent. I feel like this music, as well as being about personal feelings and experiences, has to reflect our understanding of these structures that exist that we’re trying to fight in order to have a better life for everyone. I think we should be tying all the shit we talk about in the punk scene into actual action. And we forget in the organizing spaces also that joy is a part of resistance. So, if we can meld these sounds into doing some cool shit, then let’s break shit and dance and sing while we’re doing it. **Yeah, I’m currently starting an art collective for a bunch of lefties and one of our big things is like, how do we tie art to actual effect? Not just preach at people but to be like “this thing is going to directly influence something we believe in.”** Darby: Yeah, beyond evangelizing. So, like, where am I connecting it to something you already care about or have fun doing and can kind of plant little seeds here while I’m punching you in the heart with my agonizing vocals. We were fundraising for people detained by ICE, a bunch of minors who are of different ethnic backgrounds. There’s Latino kids who are under 16\. There’s people from African continents who are minors. They’re high school students who have been detained by ICE and we want to make sure they have legal representation and the money to pay for that. So we’re really honored that the people putting that on asked us to be part of it. TJ: Yeah. I want to make music to liberate those of us who make it and it should serve to liberate everyone hopefully. It should also be a weapon against, I don’t know, oppression and “the ugly.” **Plus, the organizer in me sees every show as an opportunity. Every conversation is an organizing conversation potentially. \[*laughs*\]** Justin: It’s important to remember too that, when you’re looking at the huge big picture, you know, it can seem so overwhelming and what the fuck can I even do to help, you know? But if you just hone in on your community and the area around you, that’s the best place to start. It’s where you can affect the most change. If everybody is helping their own community, you know, then that’s how we eventually can unite together. TJ: Yeah, using art to serve our community. Justin: And still have a lot of fun! **People think that revolution stuff is like one big event, but really it’s a million little tiny things that swell up.** Darby: Some of them don’t get attention and aren’t sexy, so you don’t think about those parts. **You guys are kind of a doomy, sludgy punk band, like you said, but you have no bassist. Is there a reason for that?** TJ: \[*The entire band chuckles*\] Well, gosh, I guess I’m just fuckin’...I don’t know. Maybe I’m hard to work with. \[*The entire band laughs*\] Or I’m a control freak or something. Darby: But we had a specific idea and we all know each other. We feel comfortable in this little crew. TJ: Feels tight. Making music is intimate and it’s important to be comfortable and to, like, meld minds. It’s just easier you know with communication and stuff. Luckily, around the time we started I’d been experimenting with octave stuff, like a poly octave generator pedal and running a Marshall Mode 4 cab, which is supposed to be really good for low end stuff. I just feel like it fills out the low end pretty good so far. I’m the guitar version of liking to hear myself talk, I guess. Darby: We can do some really cool interesting shit without having to have a fourth person. If we wanted to do something more complicated down the line and have that lower end be doing something different than what you’re doing, we’ll figure that out later. TJ: Yeah, for sure. Never say never. But right now it’s pretty cool. **Plus it’s easier to schedule.** Justin: Yeah! Easier to schedule practices. Less people, less opinions to weigh in on. TJ: Less opinions! And now we just found out that all of our gear fits in my car. So, if a bassist wants to join the band, they have to buy a bigger car. **So I know you guys are recording soon. What can we expect from a Tongue record?** TJ: I think we’re just looking at a demo right now. Just, you know, hopefully get some cool tapes out. I don’t know. We got ideas. We’ve been talking about incorporating some effects and stuff too. Thinking about some sampling and kind of creative stuff if we did a big full length kind of record. Darby: But those things haven’t really materialized yet. We have folders full of samples and ideas of where to put some of them. We would like to do a more flushed out full studio album at some point. Justin: Right now we just kind of want to get something out. I’m sure it’ll be a great recording. My friend, Larry Johnson from [Cattywampus](https://cattywampus1.bandcamp.com/?ref=see-saw.fun) and [other bands](https://dinsounds.bandcamp.com/?ref=see-saw.fun), is doing it. **I know Larry. \[*Shortly after this interview, Larry asked me to join Cattywampus.*\]** Justin: He’s recording it at Arlo’s Recording House. Named after his dog. He just opened that. Yeah, it should be fun. TJ: Yeah, Darby and I have both been in bands where we just didn’t put shit out for like a long time and played a bunch of shows and we’re trying to correct that this time for sure. Darby: Absolutely. Holy shit. ![Tongue, photo by Grant LeDee from Mad Alchemy Productions](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/04/662499376_17994265118936620_861329046034962196_n.jpg) Tongue, photo by Grant LeDee from Mad Alchemy Productions **One last question here. We’re all from Ypsi. How do you feel about the Ypsi music scene? Has it been welcoming? Are there bands you have a kinship with that you really like playing with?** Darby: It’s been so welcoming, dude! Justin: Ypsi rules! TJ: Shit man. Everybody come to a show in fuckin’ Ypsi. Come down to the Regal Beagle! We’ve been in bands with a bunch of people too \[from the\] Ypsi scene. Justin: The Ypsi and Ann Arbor scene. TJ: I would say that Jef \[Porkins\] from [Scissor Now!](https://scissornow.bandcamp.com/?ref=see-saw.fun) has been really formative for me and helping me develop just playing music and, you know, learning the ropes of playing live over the years. And Scissor Now! is a fucking seminal Washtenaw County/Ann Arbor/Ypsi weird awesome band. **Jef runs my favorite local record label, Arbco.** Justin: Now defunct, probably at this point. Darby: I want to second that, on Jef for sure. Justin: And you know, all those years of running the 3rd Death Star there on Main Street. And during COVID times, he provided a spot for Bubak to practice because we were practicing in Larry’s basement and things didn’t work out at the time and then we ended up practicing in Jef’s basement. Jef was just always…there. Just a solid steward of the local music scene. Darby: Always good advice. Like music-wise or not, like just a solid fuckin dude. And then for me, Andy from [Minus9](https://minus9.bandcamp.com/?ref=see-saw.fun). He’s given me a lot of like input that I super cherish and, you know, is a big part of like the Ypsi \[scene\]. TJ: You can always count on Andy. I’m self-conscious, so I’m always like, “Oh god, I need to find somebody who won’t just tell me I played good.” Andy is my default for that. He’s not afraid to be an asshole; I’m going to ask him some stuff. And then also, I just want to say Girth. Darby: And [EKG](https://ekgpunk.bandcamp.com/?ref=see-saw.fun), even though that’s more Detroit. TJ: They’re massive for sure. Darby: Jef, Andy, and Shawn from [WyrdByrd](https://wyrdbyrdypsi.com/?ref=see-saw.fun), the local record shop. He is in the works of trying to put out more records by local artists. He’s trying to help put on the local scene, ’cause a lot of people recognize that Ypsi fucking rocks! TJ: They have like the sickest bunch of local music all the time. They’re putting people on and he’s trying to start a record label out of that shop \[WyrdByrd Records\]. He’s putting out Lord Centipede. Darby: But Shawn is not just the record store; he’s a sick, sick drummer, too. So he knows a lot about music and he was in Jacks and Nema. TJ: It was just like a sick ass old crust band. Darby: So he’s been in the music scene for like the Detroit/Ypsi area for like ever. Wes from Dull Knife and [Rotokiller](https://rotokiller.bandcamp.com/?ref=see-saw.fun), too! Wes has given me so many fuckin vocal tips and how to take care of my vocal cords. It’s insane. He runs [localCHAOS archives](https://www.localchaos.org/?ref=see-saw.fun). TJ: It’s a fuckin’ old school skate zine and hardcore zine from Ann Arbor going back to the fuckin’ ’80s. Darby: Ann Arbor and Ypsi documented from the ’80s on to current day. Justin: And he was pivotal in getting the Ann Arbor skate park. I’m pretty sure he started the original fundraiser for Ann Arbor skate park which is like one of the best skate parks in the Midwest. Darby: I found out that he used to take my dad skateboarding. TJ: I used to skate with Wes. We took a road trip down to Indiana to skate at Backyard Bowl. \[*The venue’s doorman appears with a knock on the window, abruptly ending the interview so the band could go load out their gear.* [*Go get that demo*](https://tongue4.bandcamp.com/album/immaculate-misconception-2026-demo?ref=see-saw.fun)*.*\] --- *Jason Bombach lives in Ypsilanti, Michigan and a member of the bands* [*History History*](https://historyhistory.bandcamp.com/?ref=see-saw.fun) *and* [*Cattywampus*](https://cattywampus1.bandcamp.com/?ref=see-saw.fun)*.* *see/saw is a reader-supported publication. If you enjoyed this piece, please share and* [*subscribe*](https://see-saw.fun/#/portal/)*.* ### punk this week: white fence, shaved ape, urq + 18 more URL: https://see-saw.fun/punk-this-week-white-fence-shaved-ape-urq-18-more/ Last updated: 2026-04-25T19:44:31.000Z Hey, it’s [Punk This Week](https://see-saw.fun/tag/punk-this-week/), see/saw’s column that blasts punk + rock'n'roll recommendations directly to your email inbox each weekend. This one’s loaded. We’ve got the return of psychedelic greats (White Fence, Urq), hardcore standard setters (Shaved Ape, Democracy), some standout DIY punk tapes (Cronies, G.R.O.M.I.T.), new records from reliable faves (Optic Sink, Billiam), and so much more. see/saw is a reader-supported independent publication, so if you want blurbs about all the great new punk records delivered to your inbox every week, definitely [subscribe](https://see-saw.fun/punk-this-week-winston-hightower-choncy-media-puzzle-13-more/#/portal/) for $4/month or $40/year or [barter](https://see-saw.fun/bartering/). (NOTAFLOF; hit me up and we’ll work something out.) There’s a two-week free trial if you want to see what it’s like. The perks are weekly columns, [bonus podcasts](https://see-saw.fun/tag/jukebox/), and the radio archive. Any support is genuinely massive. Thanks for considering, please share if you like what I do, and now here’s 2,000 words and plenty of hyperlinks. --- **White Fence:** [***Orange***](https://whitefence.bandcamp.com/album/orange?ref=see-saw.fun) **\[Drag City\]** White Fence’s last two albums, *For the Recently Found Innocent* (2014) and *I Have to Feed Larry’s Hawk* (2019) never knocked me out quite like *Hippo Lite*, *Cyclops Reap*, *Is Growing Faith*, *Hair*, or *Live in San Francisco*. That’s OK, though—those are absurdly high, discography-defining standards. Please believe me when I tell you that while *Orange* won’t rewire anybody’s brain with its inventiveness, this record is an absolute knockout. This music is gentle and gorgeously produced (shout out Ty Segall). The sorts of aesthetic flourishes that you’ve come to expect from Tim Presley records are here, but vibes take a backseat to pared back and gorgeous songwriting. “So Beautiful” is an up-and-down classic of garage pop songwriting, and every track feels like a potential standout. This record, which never stops crackling with vulnerability and grace, is the best White Fence record in a long while. If you’re new, this is the stripped down entry point to a much stranger rabbit hole. If you’re an old hand who’s stopped checking in, it’s time to return. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/04/a1858265547_10.jpg)](https://whitefence.bandcamp.com/album/orange?ref=see-saw.fun) --- _This post is for paying subscribers only._ ### punk this week podcast: media puzzle + choncy URL: https://see-saw.fun/punk-this-week-podcast-media-puzzle-choncy/ Last updated: 2026-04-21T18:17:04.000Z [Punk This Week](https://see-saw.fun/tag/podcast/) *is see/saw’s weekly podcast from co-hosts Evan Minsker and Nina Corcoran—a discussion of the latest and greatest in the world of punk rock. We talk about six new punk records we’re loving from the past week. Ad-free and bonus episodes are available only to paid* [*see/saw subscribers*](https://see-saw.fun/punk-this-week-podcast-clubhouse-torax-y-las-extremidades/#/portal/)*with the link at the bottom of this page!* With WrestleMania fever in the air, Nina and Evan announce their respective finishing maneuvers. Evan tastes his own blood in the Reek Minds pit. Nina basks in a hometown Ratboys gig (after writing a [feature on them earlier this year](https://pitchfork.com/features/ratboys-are-playing-the-long-game/?ref=see-saw.fun)) and interviews American Football in front of a live audience. It’s six genuinely unbelievable punk records on the pod this week, with new ones from [Media Puzzle](https://mediapuzzle.bandcamp.com/album/new-racehorse?ref=see-saw.fun), [Choncy](https://choncy.bandcamp.com/album/trademark?ref=see-saw.fun), [Prince Daddy & the Hyena](https://counterintuitiverecords.bandcamp.com/album/hotwire-trip-switch?ref=see-saw.fun), [Tonya](https://tonyaworld.bandcamp.com/album/wealth-and-hellness?ref=see-saw.fun), [the Arrivals](https://recessrecords.bandcamp.com/album/payload?ref=see-saw.fun), and [Winston Hightower](https://winstonhightower.bandcamp.com/album/100-acre-wood?ref=see-saw.fun). Oh, and some Wisconsin punk icons made us a new HARD PIVOT bumper!!! --- *Punk This Week* is a [Ruinous Media](https://www.ruinousmedia.com/?ref=see-saw.fun) podcast; thanks to Ruinous for their support. Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.funhttps://feeds.captivate.fm/punk-this-week/). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/see%5Fsaw.fun/?ref=see-saw.fun) and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). Have a question you’d like to hear addressed on the show? Want to talk about a new record we didn’t discuss? **Want to send a HARD PIVOT bumper?** Join us on the see/saw [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun) or email us: [see-saw@see-saw.fun](mailto:see-saw@see-saw.fun). *Punk This Week* is made possible first and foremost by see/saw subscribers. Please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-clubhouse-torax-y-las-extremidades/#/portal/) if you enjoy this podcast. You’ll get ad-free and bonus episodes, plus you’ll learn about way more new punk records! _This post is for paying subscribers only._ ### punk this week: winston hightower, choncy, media puzzle + 13 more URL: https://see-saw.fun/punk-this-week-winston-hightower-choncy-media-puzzle-13-more/ Last updated: 2026-04-25T22:10:35.000Z Hey, it’s [Punk This Week](https://see-saw.fun/tag/punk-this-week/), see/saw’s weekly punk and rock’n’roll recommendations column. In addition to standout returns from Winston Hightower, Choncy, and Media Puzzle, we’ve got a stellar debut from New Orleans’ Tonya, some wild shit from London’s SKINTERN, an absolute ripper from Perth’s Termite, and so much more. see/saw is a reader-supported independent publication, so if you want blurbs about all the great new punk records delivered to your inbox every week, [you’ve got to subscribe](https://see-saw.fun/#/portal/) for $4/month or $40/year or [barter](https://see-saw.fun/bartering/). (see/saw is essentially NOTAFLOF so hit me up and we’ll work something out.) There’s a two-week free trial if you want to see what it’s like. The perks are weekly columns, [bonus podcasts](https://see-saw.fun/tag/jukebox/), and the radio archive. As a startup, any support is massive. Thanks for considering, now go listen to some unbelievable records. --- **Winston Hightower:** [***100 Acre Wood***](https://winstonhightower.bandcamp.com/album/100-acre-wood?ref=see-saw.fun) **\[K\]** About a week ago in a Minneapolis punk house basement, Columbus’ Winston Hightower cued up a vintage radio commercial advertising an episode of *Frasier* that “everyone will be talking about around the water cooler tomorrow.” Then, sitting with his electric guitar in his lap, he sang a solo rendition of the minimal singer-songwriter gem “Lay Low.” Winston’s voice has so much character—the way it wobbles just a hair every time he sings is completely entrancing. After a couple songs in that mode, he put on some tiny sunglasses, dropped the beat, and served as a dancefloor commander: “Fuck it up, fuck it up, fuck it up!” With more time and resources, it’s a set that felt like it could’ve aesthetically pivoted at least two more times. If he’d toured with a full band instead of going solo mode, he would’ve played an entirely different set even more reflective of *100 Acre Wood*. “Lay Low” is an understandable first single and an absolute classic about getting canceled, but this is a record that reflects Winston’s sonic restlessness. “Selfish Soother” has pop punk guitars, a skittering beat, and Breeders-adjacent melodies that crackle with the chaos of his unexpected multi-tracked vocal melodies. There are multiple instances on this record where beautifully produced, ultra-satisfying grooves abut scrappy Home Blitz-ass vocals. It’s a record that never sits still, but whether he’s in ballad or banger mode, *100 Acre Wood* has one aesthetic center: the crate-digging punk rock polymath sitting behind the microphone. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/04/a3515737929_10.jpg)](https://winstonhightower.bandcamp.com/album/100-acre-wood?ref=see-saw.fun) _This post is for paying subscribers only._ ### spreadsheeting music fandom is the entire point URL: https://see-saw.fun/spreadsheeting-music-fandom-is-the-entire-point/ Last updated: 2026-04-15T14:44:11.000Z By 1997, I’d amassed enough action figures to fill a deep Rubbermaid tub that sat in my parents’ East Pea Ridge basement. With my dad’s unused electric typewriter and a stack of blank notecards, I’d get to “work.” I typed on one: “Captain America.” Finished, I’d put it aside and load up another. “Human Torch.” The font size was tiny; I only wrote one proper noun. I grew up in a house with comic books and got the bug to collect little dudes pretty young. With zero logic backing my decision, I felt a deep compulsion to catalog them. Those notecards didn’t help me find these guys more easily, and I don’t think I needed them to remember which ones I had. It was way more simple than that—collecting, organizing, grouping, sorting, and classifying were wildly soothing to me. I’m seeing this same impulse in my 3-year-old. While I had super heroes and other kids had monster trucks, he’s gradually amassed a substantial number of toy animals. “It’s a scarlet ibis,” he’ll say, holding the correct bird. Sometimes he’ll sing a song, plugging in “Tasmanian devil” or “octopus” or “caterpillar” or “pelican” with each verse. There’s research about how kids learn this way. By fostering deep engagement with the subject they’re interested in, kids develop things like early math skills and cognitive flexibility. Developmentally, it’s a straight line from the tub of superpowered plastic dudes (now stashed in my attic) to the completely untenable stacks of records in my office. After over two decades of bringing these things into my space, I’ve tried to keep the habit under control by implementing two rough silos: “is it a crucial living room record for full family enjoyment” or “is it a punk record that I can’t live without.” You’re reading see/saw, which means you almost definitely already know that the latter category is dangerous—especially when I start consulting a spreadsheet titled “best music 2025” on my phone at Extreme Noise. I’m convinced my early childhood collector brain engineered me for music criticism. My first music blog was an attempt to catalog and rank my record collection. I once organized all my LPs in chronological order, genre be damned, to bring together previously spread out records in the spirit of 1974 (or whenever). I have always adored lists and canons despite whether or not I agree with them, which is probably why my late ’00s garage rock blog Five Tunes asked bands for favorite song playlists. *see/saw jukebox* is a punk records canon. When I was finally in the position to start making ballots for Pitchfork year-end lists, I savored the experience of shuffling records on a Google Doc or spreadsheet. I fully understand people who don’t think there’s value in ranking art, but honestly the competitive “*this* is better than *that*” aspect of list-making is secondary to the *feeling* of making a list. The gradual process of organizing the year’s “best music” spreadsheet is energizing and, perhaps embarrassingly, wildly fun. Seeing how new information (a new good record) can coexist with what’s already there is relaxing. Dragging and dropping a record around a spreadsheet sounds pretty bloodless when you talk about it out loud, but there’s something legitimately peaceful and comforting about seeing how this canon of my very own takes shape as the year progresses. It’s probably the same reason people like puzzles or gardening or fantasy football. The new class of the Rock & Roll Hall of Fame was announced this week, which is the annual music news story that lights up that part of my brain like a goddamn pinball machine. It’s an absolutely ridiculous institution, the ultimate “art as capitalism” experience that’s easy as hell to dunk on. Everyone who talks shit about the Rock Hall seems to find a big caveat every few years: “They finally got it right now that \_\_\_\_\_ is in.” It’s a canon, an absolute collector brain’s feast not only because of who gets in, but because of all the countless possibilities of who *could* or *should* get in. When I was running news at Pitchfork, I’d do my best to grab the Rock & Roll Hall of Fame nominees press release embargo and work up the news story myself. Here’s a paragraph from the one I wrote in February 2021 when JAY-Z, Foo Fighters, Kate Bush, and Rage Against the Machine were nominated on the long list (prior to full induction): > Artists who became Rock Hall eligible for the first time this year but weren’t nominated include D’Angelo, Garbage, Deftones, Backstreet Boys, and Robyn. Previous nominees who haven’t been inducted and didn’t make the long list this year include Soundgarden, the Replacements, Bad Brains, Motörhead, Dave Matthews Band, Thin Lizzy, Pat Benatar, Eric B. & Rakim, MC5, Kraftwerk, Jane’s Addiction, John Prine, Eurythmics, Judas Priest, the Smiths, and Gram Parsons. Like holy shit, did you read that spreadsheet-ass paragraph? It genuinely does not matter to me that some of these artists have been iced out from the Cleveland pyramid. All those artists are part of plenty of other canons, but organizing those names for a bitchy little “huh I guess you don’t think Thin Lizzy are good enough” spice instead of just regurgitating a press release lionizing Dave Grohl? Creating a canon of “the Rock Hall’s misses this year”? It’s just like slotting the [Suburban Pagans demo](https://neontasterecords.bandcamp.com/album/venereal-demonstration?search%5Fitem%5Fid%3D3587949975%26search%5Fitem%5Ftype%3Da%26search%5Fmatch%5Fpart%3D%3F%26search%5Fpage%5Fid%3D5229414319%26search%5Fpage%5Fno%3D0%26search%5Frank%3D1=&ref=see-saw.fun) and [byproxy tape](https://byproxy.bandcamp.com/album/byproxy?ref=see-saw.fun) between the [Institute 7”](https://institute.bandcamp.com/album/institute?ref=see-saw.fun) and [Mujeres Podridas LP](https://mujerespodridas.bandcamp.com/album/sangre-y-sol?ref=see-saw.fun) on the “best punk 2026” spreadsheet—a big hearty snack. When my kid sings the names of animals for 40 straight minutes or places them in an elaborate scene on the coffee table, I’m witnessing how deeply he’s taking in his current favorite subject. I absolutely relate to it. see/saw is a sprawling exercise in organizing and cataloguing my favorite music whether that’s via the columns or the podcast or the radio show or the live shows or the annual “top records” broadsheet. I’ve got multiple spreadsheets bubbling at any given moment, a digital Rubbermaid tub filled with my favorites. Apparently, this is who I am. So of course, when I saw that list of 2026 Rock Hall proper nouns, I started to feel it again: “OK, but who’s missing?” My collector brain is low key such a bitch. Congratulations to Iron Maiden and Ed Sullivan. --- *see/saw is a reader-supported publication. If you enjoyed this essay, please share and* [*subscribe*](https://see-saw.fun/#/portal/)*.* ### punk this week podcast: clubhouse + tórax y las extremidades URL: https://see-saw.fun/punk-this-week-podcast-clubhouse-torax-y-las-extremidades/ Last updated: 2026-04-14T20:01:38.000Z [Punk This Week](https://see-saw.fun/tag/podcast/) *is see/saw’s weekly podcast from co-hosts Evan Minsker and Nina Corcoran—a discussion of the latest and greatest in the world of punk rock. We talk about six new punk records we’re loving from the past week. Ad-free and bonus episodes are available only to paid* [*see/saw subscribers*](https://see-saw.fun/punk-this-week-podcast-brainwash-victims-pretty-baby/#/portal/)*with the link at the bottom of this page!* No Terry Cashman, but we’re talkin’ baseball to start the episode. Evan pledges allegiance to the Detroit Tigers. We go see shows headlined by the two most recent guests on the bonus podcast [*see/saw jukebox*](https://see-saw.fun/tag/jukebox/), [Eraser](https://see-saw.fun/see-saw-jukebox-09-eraser/) and [Touché Amoré](https://see-saw.fun/see-saw-jukebox-10-touche-amores-jeremy-bolm/). Bands around the world drop some serious heat: [Clubhouse](https://clubhousernr.bandcamp.com/track/scum-of-society?ref=see-saw.fun) (Indonesia), [Tórax y Las Extremidades](https://toraxylasextremidades.bandcamp.com/track/combusti-n-espont-nea-2?ref=see-saw.fun) (Mexico), [Basic Income](https://basicincome.bandcamp.com/track/i-dont-wanna-go-to-work?ref=see-saw.fun) (Sweden), [Esperanza](https://metadonarecords.bandcamp.com/track/crack?ref=see-saw.fun) (Japan), [TOMB](https://tombsucks.bandcamp.com/track/ill-probably-hit-by-the-car-anyway?ref=see-saw.fun) (Indonesia), and [Flaws](https://flavvs.bandcamp.com/track/pulsar?ref=see-saw.fun) (Germany). --- *Punk This Week* is a [Ruinous Media](https://www.ruinousmedia.com/?ref=see-saw.fun) podcast; thanks to Ruinous for their support. Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.funhttps://feeds.captivate.fm/punk-this-week/). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/see%5Fsaw.fun/?ref=see-saw.fun) and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). Have a question you’d like to hear addressed on the show? Want to talk about a new record we didn’t discuss? **Want to send a HARD PIVOT bumper?** Join us on the see/saw [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun) or email us: [see-saw@see-saw.fun](mailto:see-saw@see-saw.fun). *Punk This Week* is made possible first and foremost by see/saw subscribers. Please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-brainwash-victims-pretty-baby/#/portal/) if you enjoy this podcast. You’ll get ad-free and bonus episodes, plus you’ll learn about way more new punk records! _This post is for paying subscribers only._ ### punk this week: la raf, esperanza, stepmother + 9 more URL: https://see-saw.fun/punk-this-week-la-raf-esperanza-stepmother-9-more/ Last updated: 2026-04-10T20:43:08.000Z Hey, it’s [Punk This Week](https://see-saw.fun/tag/punk-this-week/), and I’m trying something slightly newer for this week’s recommendations column. In addition to the usual blurbs about excellent new punk records from around the world (La RAF! Esperanza! Tórax y las Extremidades! Stepmother!), I’ve included a playlist that includes the week’s highlights plus new singles from forthcoming records (No Peeling! Edging! Media Puzzle!). If you want to read all the blurbs and check out the playlist, you’ll have to [subscribe](https://see-saw.fun/punk-this-week-hedge-burners-damaged-bug-suitor-13-more/#/portal/) to see/saw for $4/month or $40/year. see/saw is an independent reader-supported punk publication, so continued support from readers is the only thing that keeps the operation afloat. Subscribers who get behind the paywall get access to the [Punk This Week](https://see-saw.fun/tag/punk-this-week/) column, our monthly [bonus podcasts](https://see-saw.fun/tag/jukebox/), and the [see/saw radio archive](https://see-saw.fun/see-saw-radio/). There’s a two-week free trial if you want to check it out, otherwise there’s a free subscription tier with plenty to read. --- **La RAF:** [***La Rabia Ante el Futuro***](https://polzedelamort.bandcamp.com/album/la-raf-la-rabia-ante-el-futuro?ref=see-saw.fun) **\[Polze de la Mort/Andalucia Über Alles/Cebollas\]** The Spanish label Polze de la Mort is behind two of the best punk releases of the week—both by Mexico City bands and both previously self-released by the artists a bit ago. They’re new to me, though, and it’s extremely easy to be completely bowled over by La RAF. The band’s EP *La rabia ante el futuro* merges post-punk urgency, goth moodiness, and new wave bounce. The final track is “Violencia,” which starts out really upbeat and then gets burlier as it goes. If La RAF have a secret, it’s in their balancing act between their gruff, dour attack and their pop instincts. I love this vocalist’s attack, too, which is so urgent and charismatic from its high register. The band [self-released](https://larabiaanteelfuturo.bandcamp.com/album/la-rabia-ante-el-futuro?ref=see-saw.fun) this EP in February, so thanks to these labels for getting it on my radar at long last. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/04/a4261622782_10.jpg)](https://polzedelamort.bandcamp.com/album/la-raf-la-rabia-ante-el-futuro?ref=see-saw.fun) --- _This post is for paying subscribers only._ ### eraser emerge from their philly hideout for some bbq URL: https://see-saw.fun/eraser-emerge-from-their-philly-hideout-for-some-bbq/ Last updated: 2026-04-10T01:43:47.000Z [Eraser](https://wereeraser.bandcamp.com/album/hideout?ref=see-saw.fun)’s Sonam, Pier, Juliette, and Kat had toured to Memphis from Philadelphia. After we lost each other once in the crowd at Gonerfest, they found me at the merch table (in the shade). “Hey, are we going to do an interview,” Pier asked. Our collective goal to have a conversation in the middle of an outdoor punk festival was way too loose. Between the loud music and literal Memphis trains, there were no quiet conversation spots. “Let’s try over there,” I said with fully unearned confidence before leading four of the coolest human beings in punk to a ditch under a bridge. There was nowhere to sit, nowhere to stand, and no way we were going to hear each other. We ultimately hiked to a warehouse parking lot a block or two away. Before we could sort out recording the chat, I was invited to participate in a [star fingers group portrait](https://www.instagram.com/p/DQYMin2DZf-/?hl=en&img%5Findex=2&ref=see-saw.fun). (You ever do a star fingers group portrait? I highly recommend this experience.) Like any group of close friends, there was an immediately recognizable shared language between Eraser. They blurted out their inter-band nicknames while introducing themselves. Each symbol on the cover of [*Hideout*](https://wereeraser.bandcamp.com/album/hideout?ref=see-saw.fun), their debut record on Siltbreeze, is imbued with personal significance. There’s a palpable mischief shared by all four of them when they quizzed me on which symbol belongs to which band member, and they seemed equal parts disappointed and delighted when I beefed each guess. It felt crucial to get up front during Eraser’s full sun early afternoon set. It was one of the most powerfully danceable shows of an excellent weekend, which isn’t a surprise given Kat’s buoying bass grooves or Juliette’s powerful and occasionally whistle-assisted work behind the drums. Pier is one of contemporary punk’s most undersung shredders. Sonam, meanwhile, is the fucking Fonz—a cool and commanding frontperson doing all the electronic freakout shit. It’s no wonder Memphis rap icon Tommy Wright III tracked them down in the crowd afterward, jumped on their Nashville show the next night, and ultimately joined in when everyone sang “Happy Birthday” to Pier. Months later during a chat immortalized on the [*see/saw jukebox*](https://see-saw.fun/see-saw-jukebox-09-eraser/) bonus podcast, the band told me that *Hideout* was named for the Philadelphia basement where they’d get together, work on music, and hide from the rest of the city while processing the loss of family members. That foundation of vulnerability and trust is palpable in their rapport. Frequently, they give each other their respective flowers. Stuffed into Sonam’s car on the way to Charlie Vergos’ Rendezvous, Pier had the aux and played “Pure Imagination” from *Willy Wonka* into DJ Sammy & Yanou’s 2001 smash “Heaven.” Juliette sang the hook in the backseat while Sonam and I discussed our respective garage rock blog eras. Eraser recently finished recording their new album and are [touring the Midwest](https://www.instagram.com/p/DU5zlZ4EZXW/?hl=en&ref=see-saw.fun) this week to and from a [see/saw party in Minneapolis](https://www.instagram.com/p/DWfsiVikhOD/?hl=en&ref=see-saw.fun). It’ll be the first time we’ve seen each other since the weekend of this September 2025 conversation when the five of us pre-gamed a barbecue lunch with shared food truck fries. --- **As we start recording, we’re all navigating this greasy ketchup situation.** Sonam Parikh: I feel like people are really polarizing about ketchup. Literally, America and ketchup go hand in hand. The idea of this super processed thing to mimic a sauce for poor people…hello? Pier Harrison: I feel like the majority in America actually really loves ketchup and this idea that a lot of people don't like ketchup, I don't know where you got that. *Some* people don't. Sonam: Everybody that I know doesn't like ketchup. I feel like it's because I live on a coast, but I think if I lived in the middle of the country, I'd encounter more people like myself. Juliette Rando: Guess what? When I was a child, my siblings and I used to make these home videos with our family camcorder. This one movie we made was really, really good. It was called *The Secret of Ketchup*. It was about this group of people from somewhere in Eastern Europe, and they come to America to try to steal the recipe for ketchup. We should watch it. **Pier, when we went around and said all of our names into the microphone so I’d get the transcript right later, you self-identified as “Peepo.” Is that an accepted nickname?** Pier: Within the band, yes, so much so that I just said it when you put the microphone in front of my face, but you can call me Pier. ***Can* I call you Peepo?** Pier: Yes. **How’s the food been on the way here?** Sonam: We went to Potchke in Knoxville. Shout out George. Pier: Mediterranean deli the night before. Sonam: They had all these Palestinian dishes I’d never heard of before. There was this amazing orange salad and this really cool pilaf. Pier: Potchke had a Karl Springer coffee table. **I’m so sorry, but who is Karl Springer?** Pier: Karl Springer, the legendary post-modern interior designer architect. He made a bunch of art deco revival weird round chunky furniture in the ’80s. Kat Bean \[*chants*\]: Karl, Karl, Karl! Juliette: Peepo’s an expert on vintage furniture. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/04/a2788402533_10.jpg)](https://wereeraser.bandcamp.com/album/hideout?ref=see-saw.fun) Eraser’s Hideout artwork **Tell me about the artwork for *Hideout*. It’s got these symbols and I’ve wondered for a few months about their significance.** Sonam: Our really good friend Gavin Perez did it. We went to them with an idea. We all chose some objects that were really special or important to us during the making of this. We all put in like three. Kat: We all picked a symbol. It’s an amalgamation of us. Sonam: It’s us, baby. **Can I ask what each of you brought? Like one symbol each?** Juliette: You have to guess. **What, no, I didn’t agree to this!** Juliette: Who is egg? Kat: The context has been provided. That’s your clue. **Pier, are you egg?** Pier: No. Kat \[*wearing a white dress*\]: The context has been provided! I look like an egg! **Kat you’re eating ketchup in this outfit, and speaking as a sloppy boy, I’m wondering how you’re feeling about your choices today.** Kat: I’m gonna get barbecue on this later. I did not plan correctly. **If you stain it bad, it might be the most Memphis shit ever.** Pier: You could always dye it. Kat: Or I could wear it to the gig later and be like, “What’s up Memphis???” Handprints, like war paint? We got work to do. Juliette \[*to me*\]: Who’s the Middle School S? **The Middle School S? Uhh, Pier?** Everyone: No! Sonam: It’s me! I grew up in Brooklyn and I spent my whole life scrawling the [Cool S](https://en.wikipedia.org/wiki/Cool%5FS?ref=see-saw.fun) on everything. It’s only much later that I learned where it came from. It’s called the Cool S, the Universal S, some people call it the Stüssy S. It’s always resonated with me because it’s everywhere in Brooklyn. [see/saw jukebox 09: eraserThe Philadelphia punks bring some perfect records to the jukebox as their Dry January group chat has its integrity threatened.![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/icon/bafkreifvysc6r6zrj4gmqz5nrehf6ra5e7ggh5ckiwrnbldcbc3dtzbfxq.jpg)see/sawEvan Minsker![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/thumbnail/eraser-header.jpg)](https://see-saw.fun/see-saw-jukebox-09-eraser/) **So let’s pause a second—tell me anything about growing up in Brooklyn.** Sonam: I grew up in Bay Ridge. My parents came to America in ’82 and they had a bodega on 4th Ave. I was a baby growing up in the bodega. My bassinet was by the cat food. Once there was a robbery and the person took me. Gasp, I know! Juliette: \[*gasps*\] How old were you?! Sonam: I was so little, I can’t remember! This was the story—the person took the baby carrier and I was in it and started running down the street and my dad ran after him. And yeah, well I’m here now, so! **That’s awful.** Sonam: It was a typical robbery. I was so little, I wasn’t cognizant. I think it’s more of a funny story. Kat: “Whoa, the Earth is moving fast!” Pier: And that’s where you got your love of fast noises. Sonam: Yes, yes. No worries. No worries. Don’t worry about it. We’re OK. We’re fine. Pier: You should pull a Mariah Carey and be like “and that’s where I developed my love of xyz luxury item.” Sonam: We’ve been listening to the Mariah Carey autobiography in the car. Pier: It’s been a joy to share that because it’s one of my favorite things. Everyone else is listening and I’m trying not to be too influential, but then someone will gasp like “oh my god” at a comment and I’ll be like, “Yes, everyone loves it.” Sonam: Yes, it’s killing it. We’re maybe just halfway through and it is crazy. **What is Eraser learning from Mariah that you’d like to carry with you on your journey?** Sonam: Well, she was a weird little girl growing up in New York who got bullied and was poor as shit too, so I love her. Kat: Yeah, she wrote her first songs when she was five or six years old. Juliette: The way she describes Ritz Crackers is really inspiring \[*laughs*\]. She tells a story about how when she was a kid and she'd be hungry for a snack, her dad would give her one Ritz Cracker, and so she goes into extreme detail about the experience—the mouth-watering texture, each crumb she was savoring. It just makes you realize you should appreciate every cracker you're ever given. Pier: I feel like in a lot of ways her life story is just like this big universal analog. It’s a very universal story for not fitting into one category. Sometimes that’s in the very literal way where she talks about being a biracial person. This is my second go-round with this audiobook. It’s been a while. Kat: But you taught it in your class. Pier: I made my students listen to the chapter about *Glitter*. ![Sonam with Tommy Wright III at Gonerfest; photo by Evan Minsker](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/04/IMG_5596-copy.jpg) Sonam with Tommy Wright III at Gonerfest; photo by Evan Minsker **What else are you all taking in recently?** Pier: *True Anon*. It’s where I get all my news. They investigated Jeffrey Epstein. Kat: It’s the *only* anti-pedophile podcast. \[*laughs*\] They do a whole series on 9/11 that’s hour by hour, so if you want to get into that podcast, start there. Pier: Just listen to each new episode to get your daily news! It’s like *Democracy Now*. Kat: It’s like *Democracy Now* for the freaks. Sonam: I’ve been learning about making gold caps. I didn’t make this one \[*points to the gold cap in their teeth*\], but this one I thought was lost, which is how the idea started. Juliette: You found it?! Sonam: I found it. It was crazy. It was in my duvet cover in the washing machine. But yeah, I guess learning a lot about metal melting, molding, shapes, and stuff like that. And in that way, I’ve been learning about the history of caps. I grew up around caps. My dad was always like, “Put your money in your mouth.” They can’t really take that from you unless it’s the very end, you know what I mean? Whenever he was smiling, he had like the hugest dimples and you could see all this gold flashing. I don't know, it just makes me feel closer to him or something, but also caps look sick as hell. And they’re part of so many Asian cultures, Black American culture, like caps are the best. They’re such a powerful way for people who maybe don’t have a lot of money to flex and feel good about it. **How would you define the spirit of Eraser? What’s an adjective that gets me toward the space that you all inhabit together?** Pier: Can we say it at the same time? Juliette: Wait… Pier: No, we *can’t* talk to each other about it. Do you have it? Do you have yours? OK, on the count of three—one, two, three… Sonam: WOMBLIKE. Kat: J.U.G.S. Juliette: SMIRKY. Pier: IMPISH. **You all shouted and I didn’t hear any of what you just said, so let’s go around individually for your answers.** Kat: I said “J.U.G.S.,” which stands for “just us girls.” Sonam and I are nonbinary, so saying “jugs” is the perfect way to express it. When we’re in the basement, it’s just us doing our thing. Us just being in the room together is what Eraser is, you know? Whatever we bring to the table that day. Pier: The word I said was “impish,” which spoiler alert, is a reference to the word in one of our new songs. It’s that energy of being like “hee hee hee” and kind of evil. It’s mischievous. Juliette: Mine’s similar, I said “smirky.” I was gonna say smirk, but I feel like the smirk has a connotation of coming from a creepy man, so not that kind of smirk. Pier: You’re reclaiming smirk. Sonam: Mine was “womblike.” When we go down into the basement, there’s this thick gel that sort of encases us and we’re just in the zone for a couple of hours. I don’t mean to make this all mother-related, but I just feel like it’s a space where we sort of become kids and fucking fuck around and laugh and be stupid and just really love each other. ![Eraser’s Juliette, Kat, Sonam, and Pier at Charlie Vergos’ Rendezvous in Memphis on September 26, 2026; photo by Evan Minsker](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/04/eraser2.jpg) Eraser’s Juliette, Kat, Sonam, and Pier at Charlie Vergos’ Rendezvous in Memphis on September 26, 2026; photo by Evan Minsker --- [*Go catch Eraser on tour this week*](https://www.instagram.com/p/DU5zlZ4EZXW/?hl=en&ref=see-saw.fun)*. see/saw is a reader-supported publication. If you enjoyed this article, please share and subscribe.* ### punk this week podcast: brainwash victims + pretty baby URL: https://see-saw.fun/punk-this-week-podcast-brainwash-victims-pretty-baby/ Last updated: 2026-04-07T18:14:39.000Z [Punk This Week](https://see-saw.fun/tag/podcast/) *is see/saw’s weekly podcast from co-hosts Evan Minsker and Nina Corcoran—a discussion of the latest and greatest in the world of punk rock. We talk about six new punk records we’re loving from the past week. Ad-free and bonus episodes are available only to paid* [*see/saw subscribers*](https://see-saw.fun/punk-this-week-podcast-hedge-censer-stuck/#/portal/)*with the link at the bottom of this page!* We celebrate Easter with a visit from the Dr. Pepper-flavored Peep we’ve named Dr. Peeper. Nina meets Rocco for a summit about the state of the Reese’s Easter egg (and a Mclusky/Pile show). Evan browses a reasonably priced vintage Charlotte Hornets jacket on eBay. We discuss new records from [Brainwash Victims](https://unlawfulassembly.bandcamp.com/album/brainwash-victims-s-t-cassette?ref=see-saw.fun), [Pretty Baby](https://prettybaby704.bandcamp.com/album/layaway-plot?ref=see-saw.fun), [Yambag](https://yambag.bandcamp.com/album/the-psycho?ref=see-saw.fun), [Robber Robber](https://robberrobber.bandcamp.com/album/two-wheels-move-the-soul?ref=see-saw.fun) (read [Nina’s review in Pitchfork](https://pitchfork.com/reviews/albums/robber-robber-two-wheels-move-the-soul/?ref=see-saw.fun)), [Triple Ente](https://tripleente.bandcamp.com/album/desastres?ref=see-saw.fun), and the split from [Mail. & Sects](https://mail-sects.bandcamp.com/album/mail-sects?ref=see-saw.fun). If you directly support *Punk This Week* with a subscription to see/saw for $4/month or $40/year, you can hear the [new episode of *see/saw jukebox* with Touché Amoré’s Jeremy Bolm](https://see-saw.fun/see-saw-jukebox-10-touche-amores-jeremy-bolm/). If you’re in Minneapolis, consider coming to see [Eraser, Winston Hightower, Yuasa-Exide, and Tommy on Saturday night](https://www.instagram.com/p/DWfsiVikhOD/?ref=see-saw.fun) (4/11); hit me up for the location. --- *Punk This Week* is a [Ruinous Media](https://www.ruinousmedia.com/?ref=see-saw.fun) podcast; thanks to Ruinous for their support. Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.funhttps://feeds.captivate.fm/punk-this-week/). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/see%5Fsaw.fun/?ref=see-saw.fun) and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). Have a question you’d like to hear addressed on the show? Want to talk about a new record we didn’t discuss? **Want to send a HARD PIVOT bumper?** Join us on the see/saw [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun) or email us: [see-saw@see-saw.fun](mailto:see-saw@see-saw.fun). *Punk This Week* is made possible first and foremost by see/saw subscribers. Please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-hedge-censer-stuck/#/portal/) if you enjoy this podcast. You’ll get ad-free and bonus episodes, plus you’ll learn about way more new punk records! _This post is for paying subscribers only._ ### punk this week: yambag, brainwash victims, commitment, poison ruïn + 16 more URL: https://see-saw.fun/punk-this-week-yambag-brainwash-victims-commitment-poison-ruin-16-more/ Last updated: 2026-04-04T14:27:47.000Z Hey, it’s [Punk This Week](https://see-saw.fun/tag/punk-this-week/), see/saw’s weekly punk and rock'n'roll recommendations column. It’s a genuinely massive week for new punk records. There are new ones from Yambag, Commitment, Poison Ruïn, and Dillinger Four. Brainwash Victims’ tape is instantly one of the year’s best punk records. This is a very good week for the column. see/saw is an independent reader-supported punk publication, and continued support from readers is the only thing that keeps this thing going. That’s why this weekly column is exclusively available in full to those who [subscribe](https://see-saw.fun/punk-this-week-dry-socket-censer-king-tuff-stuck-13-more/#/portal/) for $4/month, $40/year, or [barter](https://see-saw.fun/bartering/) (hit me up). [Punk This Week](https://see-saw.fun/tag/punk-this-week/), [bonus podcasts](https://see-saw.fun/tag/jukebox/), and the full [see/saw radio archive](https://see-saw.fun/see-saw-radio/) are what’s behind the paywall. There’s free stuff, too, if you want to subscribe for free. --- **Yambag:** [***The Psycho***](https://yambag.bandcamp.com/album/the-psycho?ref=see-saw.fun) **\[Convulse\]** Cleveland wild hogs Yambag are responsible for the kind of hardcore records that make it feel like you’re jumping onto a treadmill that’s already going way too fucking fast. It’s hardcore that’s so fast and smothering, you’re going to faceplant no matter how hard you try to keep up. “They can’t go faster than this,” you’ll think, and then faster they go across an eight-song 7” called *The Psycho* (which is also what they could’ve titled any of their other records) that whips by before you know it. The best part of Yambag’s relentlessness is that the individual songs rule. Speed will only get you so far without half decent hooks. It turns out Yambag do literally everything well, and while you’re processing what it is you just heard, all that’s left is a big Yambag-shaped cloud as they sprint on to the next thing. Meep meep, motherfucker. [The Psycho, by Yambag8 track album![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/icon/a1927651140_3.jpg)YambagB![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/thumbnail/a1927651140_5.jpg)](https://yambag.bandcamp.com/album/the-psycho?ref=see-saw.fun) --- _This post is for paying subscribers only._ ### see/saw jukebox: touché amoré’s jeremy bolm URL: https://see-saw.fun/see-saw-jukebox-10-touche-amores-jeremy-bolm/ Last updated: 2026-06-04T22:11:28.000Z [*see/saw jukebox*](https://see-saw.fun/tag/jukebox/)is a bonus podcast about perfect punk records from *Punk This Week* hosts Nina Corcoran and Evan Minsker. Each episode, we’re joined by special guests to curate perfect punk records for a mythical jukebox. This time, we’re joined by Touché Amoré’s Jeremy Bolm (host of [*The First Ever*](https://the-first-ever-podcast.libsyn.com/?ref=see-saw.fun) podcast) ahead of the [10th anniversary reissue of *Stage Four*](https://toucheamore.bandcamp.com/album/stage-four-10-year-anniversary-edition?ref=see-saw.fun) (out April 10) and [forthcoming tour](https://store.toucheamore.com/pages/tour?ref=see-saw.fun). Jeremy adds a favorite live punk record to the jukebox on an episode featuring discussions of that album, a terrifying airplane ride, the Ramones’ acting chops, and much more. All episodes of *see/saw jukebox* are available exclusively to [paid see/saw subscribers](https://see-saw.fun/see-saw-jukebox-09-eraser/#/portal/) ($4/month or $40/year or [barter](https://see-saw.fun/bartering/) \+ there’s a two-week free trial)! Subscribe and listen below. _This post is for paying subscribers only._ ### playlist: the 50 best punk songs of march 2026 URL: https://see-saw.fun/playlist-the-50-best-punk-songs-of-march-2026/ Last updated: 2026-04-02T18:52:06.000Z see/saw has been going for two years, which culminated in a big party last Saturday in Minneapolis. The Sleaze, Kilynn Lunsford, Bermuda Squares, TY, Miracle Debt, BUIO OMEGA, and W-9 all killed. A lot of people showed up; a few folks said some extremely kind things to me. It’s an understatement to call it a very good night. In summer 2025, I’d booked a show that ended up at a storied punk house. It was under threat, but it was back, and the turnout was outstanding. A friend from the city who isn’t embedded in the punk scene showed up, looked around, gestured and said “you did this.” But the truth is that I really didn’t do much. People were celebrating the return of a deeply important community space. They were celebrating a beautiful summer night with each other. No one person is responsible for good nights. It had been a nasty, fucked up winter in Minneapolis; the aftershocks are absolutely still reverberating and people still need help. But on a beautiful spring weekend, I did what my therapist encouraged me to do—I looked around the bar and watched how much people were enjoying themselves. Last month, I threw four see/saw shows, and none of them would’ve happened or been any good if it hadn’t been for the people who showed up. The year 2 show really filled my cup. I went to bed afterward listening to punk music and stayed up until 5am replaying the entire night back in my head. After two years of doing see/saw, it turns out I really love this shit. I don’t think I’d keep doing all this stuff if it wasn’t for the community. Bullshitting with my friends on Discord about records, hearing that people find new favorites from the columns, learning that people love the podcast—it’s a quality existence. I used to be super transparent about how things are going for see/saw in these monthly playlist blogs, so here’s an update at the second year mark: 3,103 people total have subscribed at some point. 655 of those people are behind the paywall. That’s super humbling for what’s ultimately a niche punk newsletter with no publisher safety net. If you enjoy this playlist and you don’t already, [please consider subscribing to see/saw](https://see-saw.fun/#/portal/). If you already do subscribe, take a minute to tell your fellow sickos about this thing that I do. I love that people keep finding this thing. To another year of see hyphen saw dot fun. --- [**see/saw’s 50 best punk songs of march 2026**](https://www.buymusic.club/list/seesaw-seesaws-best-punk-songs-of-march-2026?ref=see-saw.fun) Yankee Bastard: H-Bomb Rock Noxeema: Sick Suburban Pagans: Sad Bags byproxy: Charlie’s Ants Aswan Dam: Empty Orchestra Antenna: Rolling By Powerplant: Wingspan Censer: The Wheel Physicalist: Choking Season Billiam: Asbestos & Me Spec Realists: (We’re Not Punks) We’re Art Punks Downtown Boys: No Me Jodas SUX: Get Outta My Way Stuck: Instakill The Antics: Dirty Rotten Dinner Mother Nature: Language of a Peaceful Mind The Guise: Morons Hanging on the Wall Trenchcoat: Trenchcoat My Wife’s an Angel: Karaoke Dry Socket: Leglock NC Five: Batard Hedge: Hit the Road Rubble: Paralysis FAUCHEUSE: Pacte de Feu Hedge Burners: Long Time Listening Suitor: Model Actress The Caries Company: P.T.Z.T. The Falling Spikes: He’s Still in Love With You TV Buddha: Baby, Whoa! (Version) United Stare: Voice of Change DISHES: Photosynthesis Top Shortage: Susan Stryker Burgers Gone Wild: Blasted 2m8o: Danny’s Poison The Sleeveens: If I Was a Casual Trance Bill: Amp Burn Protocol GUNNER: The Bad Lieutenant Guitar Wolf: More Jet Choncy: Dressing the Part Shop Talk: Ramona Excess Blood: Porcelain Doll Powerwasher: Mirage \[ft. RXKNephew\] IRKED: Settle Down Pura Manía: Zona de Alto Riesgo Swirls: Powerstation Reek Minds: Surging Hate CROSS: Begging the Sword ABYECTA: Inténtalo o Muere Mortuary Ritual: Do It All Again Damaged Bug: Double Yolks ### punk this week podcast: hedge + censer + stuck URL: https://see-saw.fun/punk-this-week-podcast-hedge-censer-stuck/ Last updated: 2026-03-31T19:55:28.000Z [Punk This Week](https://see-saw.fun/tag/podcast/) *is see/saw’s weekly podcast from co-hosts Evan Minsker and Nina Corcoran—a discussion of the latest and greatest in the world of punk rock. We talk about six new punk records we’re loving from the past week. Note: Ad-free and bonus episodes are available only to paid* [*see/saw subscribers*](https://see-saw.fun/punk-this-week-podcast-suitor-hedge-burners/#/portal/)*with the link at the bottom of this page!* Fresh off the see/saw year 2 party, Evan breaks down an unbelievable night in Minneapolis. Nina balks at Evan’s MLB agnosticism; our hosts decide that he must choose between two teams. Nina’s dryer introduces itself as a third co-host. A wild hardcore record reminds Evan of a Frog and Toad story. We discuss new ones from [Hedge](https://hedgebandma.bandcamp.com/album/freeze-frame-high-five?ref=see-saw.fun), [Censer](https://censer.bandcamp.com/album/censer-demo-tape?ref=see-saw.fun), [Stuck](https://stuckchi.bandcamp.com/album/optimizer?ref=see-saw.fun), [Mother Nature](https://donor-records.bandcamp.com/album/language-of-a-peaceful-mind?ref=see-saw.fun), [Rubble](https://rubblemtl.bandcamp.com/album/rubble?ref=see-saw.fun), and [Physicalist](https://dirtcultrecords.bandcamp.com/album/physicalist?ref=see-saw.fun). --- *Punk This Week* is a [Ruinous Media](https://www.ruinousmedia.com/?ref=see-saw.fun) podcast; thanks to Ruinous for their support. Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.funhttps://feeds.captivate.fm/punk-this-week/). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/see%5Fsaw.fun/?ref=see-saw.fun) and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). Have a question you’d like to hear addressed on the show? Want to talk about a new record we didn’t discuss? **Want to send a HARD PIVOT bumper?** Join us on the see/saw [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun) or email us: [see-saw@see-saw.fun](mailto:see-saw@see-saw.fun). *Punk This Week* is made possible first and foremost by see/saw subscribers. Please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-suitor-hedge-burners/#/portal/) if you enjoy this podcast. You’ll get ad-free and bonus episodes, plus you’ll learn about way more new punk records! _This post is for paying subscribers only._ ### punk this week: dry socket, censer, king tuff, stuck + 13 more URL: https://see-saw.fun/punk-this-week-dry-socket-censer-king-tuff-stuck-13-more/ Last updated: 2026-03-27T21:22:00.000Z Hey, it’s Punk This Week, a column about new punk and rock’n’roll records. This weekend marks two years of see/saw. There are a couple parties in Minneapolis. [The first one’s at a warehouse tonight](https://www.instagram.com/p/DWUeDzxkqBJ/?ref=see-saw.fun) (Friday March 27), [the big year 2 party is at Eagles 34](https://see-sawdotfun.bandcamp.com/merch/see-saw-year-2-ticket?ref=see-saw.fun) on Saturday and features [the Sleaze reunion](https://see-saw.fun/the-sleaze-on-reuniting-after-13-years-their-dirtbag-teen-years/), Bermuda Squares’ final original lineup show, and five more deeply sick bands. Next week I’ll probably write some reflections, but for now, I’m extremely grateful for everyone who’s been supportive of this thing I do. Come to the shows if you can. For now, let’s get into the good new records. see/saw is an independent reader-supported punk publication, and continued support from readers is the only thing that keeps the operation afloat. That’s why this weekly column is exclusively available in full to those who [subscribe](https://see-saw.fun/punk-this-week-hedge-burners-damaged-bug-suitor-13-more/#/portal/) for $4/month, $40/year, or [barter](https://see-saw.fun/bartering/) (hit me up). [Punk This Week](https://see-saw.fun/tag/punk-this-week/), [bonus podcasts](https://see-saw.fun/tag/jukebox/), and the full [see/saw radio archive](https://see-saw.fun/see-saw-radio/) are what’s behind the paywall. There’s free stuff, too, if you want to subscribe for free. --- **Dry Socket:** [***Self Defense Techniques***](https://drysocketpdx.bandcamp.com/album/self-defense-techniques?ref=see-saw.fun) **\[Get Better\]** Portland’s Dry Socket open their new album with these words, screamed repeatedly and desperately: ”Tired of being scared, exhausted by their hate, no longer living to appease and placate.” This is righteous, furious hardcore by a band screaming about the boot pressing further and further on all of our necks, performed with precision and engineered gorgeously. [Self Defense Techniques, by Dry Socket8 track album![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/icon/a0568020058_3.jpg)Dry SocketDry Socket![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/thumbnail/a0568020058_5.jpg)](https://drysocketpdx.bandcamp.com/album/self-defense-techniques?ref=see-saw.fun) --- _This post is for paying subscribers only._ ### punk this week podcast: suitor + hedge burners URL: https://see-saw.fun/punk-this-week-podcast-suitor-hedge-burners/ Last updated: 2026-03-24T21:51:39.000Z [Punk This Week](https://see-saw.fun/tag/podcast/) *is see/saw’s weekly podcast from co-hosts Evan Minsker and Nina Corcoran—a discussion of the latest and greatest in the world of punk rock. We talk about six new punk records we’re loving from the past week. Note: Ad-free and bonus episodes are available only to paid* [*see/saw subscribers*](https://see-saw.fun/punk-this-week-podcast-2m8o-top-shortage/#/portal/)*with the link at the bottom of this page!* Our hosts finally find their way to a discussion about Pop Tarts and the unfortunate case of the limited 2021 Mister E flavor. We also discuss the big [upcoming see/saw shows](https://see-saw.fun/see-saw-presents/) featuring [the Sleaze reunion](https://see-saw.fun/the-sleaze-on-reuniting-after-13-years-their-dirtbag-teen-years/) and new records by [Suitor](https://suitor.bandcamp.com/album/saw-you-out-with-the-weeds-2?ref=see-saw.fun) (check out the [Stereogum feature](https://stereogum.com/2490997/band-to-watch-suitor/interviews/band-to-watch?ref=see-saw.fun)), [Hedge Burners](https://hedgeburners666.bandcamp.com/album/fall-out-of-the-future?ref=see-saw.fun), [the Caries Company](https://thecariescompany.bandcamp.com/album/episodio-especial?ref=see-saw.fun) (check out [Amor Muerte y Leonora](https://amormuerteyleonora.bandcamp.com/?ref=see-saw.fun)), [DISHES](https://dishes.bandcamp.com/album/drama?ref=see-saw.fun), [Feverchild](https://feverchildband.bandcamp.com/album/center-of-the-earth?ref=see-saw.fun), and of course, [Trance Bill](https://trancebill1.bandcamp.com/album/violent-impulsive-primitive?ref=see-saw.fun). --- *Punk This Week* is a [Ruinous Media](https://www.ruinousmedia.com/?ref=see-saw.fun) podcast; thanks to Ruinous for their support. Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.funhttps://feeds.captivate.fm/punk-this-week/). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/see%5Fsaw.fun/?ref=see-saw.fun) and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). Have a question you’d like to hear addressed on the show? Want to talk about a new record we didn’t discuss? **Want to send a HARD PIVOT bumper?** Join us on the see/saw [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun) or email us: [see-saw@see-saw.fun](mailto:see-saw@see-saw.fun). *Punk This Week* is made possible first and foremost by see/saw subscribers. Please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-2m8o-top-shortage/#/portal/) if you enjoy this podcast. You’ll get ad-free and bonus episodes, plus you’ll learn about way more new punk records! _This post is for paying subscribers only._ ### the sleaze on reuniting after 13 years + their dirtbag teen era URL: https://see-saw.fun/the-sleaze-on-reuniting-after-13-years-their-dirtbag-teen-years/ Last updated: 2026-03-23T21:35:37.000Z February 20 was a predictably cold one in Minneapolis. In the doorway of a nice house about a half mile from Powderhorn Park, I’m being barked at by Jack, the dachshund mix who lives with Mark (guitar). It’s chill, though; Jack is just trying to get some pets. I’m here to talk to the Sleaze, a band that’s gathering this particular weekend to practice for their first show in 13 years—a headlining set at [see/saw’s year 2 party](https://see-sawdotfun.bandcamp.com/merch/see-saw-year-2-ticket?ref=see-saw.fun) (March 28 at Eagles 34). Hanging out with an awesome dog is a bonus perk. Conor (vocals) invited me in; his hair is way longer than it was when his band was still active. Still, this well-dressed father is instantly recognizable as the young sneering frontman of the Sleaze at a [2013 unofficial SXSW show](https://www.youtube.com/watch?v=uyJpzjsI30U&ref=see-saw.fun). At one point during that set, Conor leaned over and some dude poured a full beer down his buttcrack. I’ll never forget that image. It’s an inviting spot to hang out with a band that hasn’t existed in over a dozen years. There was chili on the stove. Joe (bass) arrived fresh from his job at the hospital; he remembered that 2013 SXSW excursion distinctly. “I got in a fight with some guy,” he said. “He tore my shirt.” Will (drums), added, “I think within an hour of us getting there, you got your entire shirt torn off.” Will demanded that we all play *Street Fighter II* on a tiny box television during our interview, but that plan fell apart immediately; the TV was busted and there was nowhere to easily place it in that room, anyway. The walls of Mark’s house are adorned with Will’s original *Street Fighter* character portraits. They all prefer to play as Ken (except Joe, who is a Ryu guy). Multiple copies of the Sleaze’s records were splayed out on the dining room table, allowing me to visually track their trajectory from their iconic 2008 debut *Smokin’ Fuckin’ Cigs and Other Hit!* through to 2013’s *Tecktonik Girls* 12” on Total Punk. The band effectively ended when Conor moved to Texas; the rest of the band still live in Minneapolis. Tony from Bermuda Squares, their friend and contemporary from Minneapolis punk bands like Sinks and Retainers, is responsible for putting this deal together. After a night where I geeked out about their records to Tony, I floated the idea—would they be into a reunion? He set to work twisting arms. “And I said, ‘How much money,’” Mark responded. That’s probably a joke—Mark, Joe, and Will were the first ones to say yes. “I was the holdout,” Conor said. “You guys can just play instruments, but there’s a character that I play. It’s kind of like I didn’t know if I wanted to go back there, but now that I’ve been playing, it’s been fun and also rewarding. I’m glad that we’re doing this.” There was another hitch: Conor’s voice is literally different than it was back then. “I’m pretty sure my balls dropped,” he told Tony. The Sleaze started around senior year of high school in Stillwater, Minnesota; they were 18 years old when they started and played tons of shows with x’s on their hands. Will remembered how they’d handle those nights: “We would shotgun beers in the parking lot outside Hexagon.” Mark added: “Now we shotgun beers in the *homes* that we *own*.” Their origin story is extremely teenaged and was already well-documented in their [exit interview with *Terminal Boredom*](https://terminal-boredom.com/interviews/thesleaze?ref=see-saw.fun). Conor remembers Will getting really into Refused and wanting to play drums fast. The first two to start playing together were Will and Mark. “Mark was twee as fuck, which I didn’t know at the time, otherwise I would not have fucked with him at all,” Will said. Will moved his “shitty drum set” into Mark’s parents’ basement. “Mark had the clarity to decide that we needed a singer that didn’t give a fuck, basically, and had the perfect candidate. And then we forced Joe to play bass because he was our other best friend.” The Sleaze ultimately moved their operation into a tiny room in Conor’s dad’s garage, monolithically dubbed the Room. “It doesn’t exist anymore, unfortunately,” Conor said. “But we kind of just hung out in that room all day every day for years.” “We got stoned in there a lot and became blood brothers in there,” Joe said. It wasn’t some limp declaration of “we are now blood brothers”—they literally did the thing where they sliced their hands and shared blood. They had one other blood brother, their friend Jake; he wasn’t a member of the Sleaze, but as soon as he comes up, all four guys begin weaving this wild tapestry of a guy who used to “wheedly-wooo” with his electric guitar blues chops, an “incredible athlete” who ran a mile in under four minutes, and a modern day “trad dad/MAGA dad” with a hobby farm somewhere in Texas. Time comes for all of us, and now those blood-swapping stoner dirtbag teens are now adults suckin’ on Zyns instead of smokin’ fuckin’ cigs. Tasked with revisiting snotty punk 7” classics like “Crush” b/w “PCP,” they practiced once over Christmas and again the February weekend when we met. “This is the night we get our shit together,” said Mark. “Maybe we’re gonna drop off the bill after this weekend.” It’s easy to see how these guys have been friends for the majority of their lives. When Will claimed that he and Mark were having the easiest time during practice because they still jam occasionally, Conor chimed in, “Will, you can’t play seven songs in a row right now.” Incredulous, Will responded: “What? Yeah I can!” Conor didn’t let it go: “Couldn’t at Christmas!” They hypothesized about who’s going to show up for their set, wondering if it’ll just be their parents or if maybe some heads from the late ‘00s might turn up. “I’m excited to see a lot of people I haven’t seen from that arena for a long time,” said Joe. Will added: “I’m gonna be really disappointed if certain weirdos that I don’t really have a connection with individually anymore don’t show up.” Early on in planning the see/saw year 2 party, I asked the Sleaze if they planned on playing any shows before March 28 as a warm-up. Specifically, I wanted to know if it would be accurate to call it their first show in 13 years. Conor replied: “It’ll be the first and only show in 13 years 😂” Of course, the future is uncertain, and the possibility of future Sleaze stuff doesn’t appear to be fully off the table. “I had a scheme to get a new record out in time for the show, and it was like *oh wait, this is going to be a logistical nightmare*,” Mark said. “There were two songs that weren’t recorded. It seemed more important to figure out what the fuck we’re doing with the show. I would still like to do something, but who knows what that means.” Conor drove us to a local dive bar for Will’s girlfriend’s birthday; we listened to Necrot and Blood Incantation on the way. Pull tabs were generously distributed, and of course, none of the dozen that ended up in my hands were winners. I was pulled into a game of doubles pool with Mark, Joe, and Will—I scratched so hard once that the cue flew into one of their longtime friends. I ultimately lost the game, embarrassing myself in front of these dudes whose music I obviously love. On the drive back to Mark’s house, we listened to Lana Del Rey’s “White Feather Hawk Tail Deer Hunter” at Mark’s request. Jack got the zoomies, we gossiped about our mutuals, and parted ways. The Sleaze will return on March 28\. After that? Who fuckin’ knows. ![The Sleaze, pictured on the back cover of 2011’s Weird Truck](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/03/sleaze-2.jpeg) The Sleaze, pictured on the back cover of 2011’s Weird Truck --- *The Sleaze will headline see/saw year 2 on March 28; the lineup also includes Bermuda Squares, Kilynn Lunsford, Miracle Debt, Buio Omega, TY, and W-9\.* [*Tickets are available*](https://see-sawdotfun.bandcamp.com/merch/see-saw-year-2-ticket?ref=see-saw.fun)*.* ### punk this week: hedge burners, damaged bug, suitor + 14 more URL: https://see-saw.fun/punk-this-week-hedge-burners-damaged-bug-suitor-13-more/ Last updated: 2026-03-21T18:17:47.000Z Hey, it’s [Punk This Week](https://see-saw.fun/tag/punk-this-week/), see/saw’s punk and rock'n'roll column. This time we’ve got new work from Hedge Burners (members of Dick Diver + Split System), John Dwyer’s Damaged Bug project, Cleveland’s Suitor, Suburban Pagans (members of Puppet Wipes), egg punk from Spain, hardcore from Minneapolis, and much more. see/saw is an independent reader-supported punk publication, and continued support from readers is the only thing that keeps the operation afloat. That’s why this weekly column is exclusively available in full to those who [subscribe](https://see-saw.fun/punk-this-week-pura-mania-powerwasher-yankee-bastard-13-more/#/portal/) for $4/month, $40/year, or [barter](https://see-saw.fun/bartering/) (hit me up). [Punk This Week](https://see-saw.fun/tag/punk-this-week/), [bonus podcasts](https://see-saw.fun/tag/jukebox/), and the full [see/saw radio archive](https://see-saw.fun/see-saw-radio/) are what’s behind the paywall. There’s free stuff, too, if you want to subscribe for free. There’s a [couple big shows this weekend](https://see-saw.fun/see-saw-presents-four-shows-in-march-2026/) in Minneapolis celebrating two years of see/saw. If you’re around, you should come to the before year 2 warehouse party & the big see/saw year 2 party. [The Sleaze are reuniting](https://see-sawdotfun.bandcamp.com/merch/see-saw-year-2-ticket?ref=see-saw.fun)! It’s going to be a blast, so grab tickets and come say hey. --- **Hedge Burners:** [***Fall Out of the Future***](https://hedgeburners666.bandcamp.com/album/fall-out-of-the-future?ref=see-saw.fun) **\[Legless\]** If you’re not a massive fan of Steph Hughes’ work, perhaps you’ve never gotten completely obsessed with Dick Diver or Boomgates or her standout cameo in the UV Race movie. Steph’s fronting Hedge Burners—the Melbourne and Rye-based band alongside Arron Mawson, Jackson Allen, and Shaun Gionis. Call ’em dolewave if you want, and you’d be forgiven. They’re a band that takes their time, moving gradually with perfect hooks and vocals. “Angel Lee” is a great example of their tectonic shifts—a 3.5-minute breeze that envelops the listener. Hedge Burners still manage to get the blood-pumping with faster tracks like “Long Time Listening,” and they absolutely knocked one out of the park in late 2025 with the stomping and wistful single “As the Headlights Go.” Be careful or you’ll become obsessed with the harmonica undercurrent or vocal harmonies on the late album swoonfest, “Concrete Waterfall.” I know I did. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/03/a3936712780_10.jpg)](https://hedgeburners666.bandcamp.com/album/fall-out-of-the-future?ref=see-saw.fun) _This post is for paying subscribers only._ ### dana brave the wind advisory in the van with a king size box of nerds URL: https://see-saw.fun/dana-brave-the-wind-advisory-in-the-van-with-a-king-size-box-of-nerds/ Last updated: 2026-03-18T16:11:51.000Z [DANA](https://danabandohio.bandcamp.com/?ref=see-saw.fun) let me know they’ve left Chicago a little late, so we’ll be doing the interview *after* the show. In the Detroit punk scene, this means “late as hell.” I decide to get to Paris Bar early anyway so I can at least chat with the Columbus art punks a bit before they play. When I bring up the god-tier show lineup to DANA’s Madeline (vocals, theremin), she proudly says they got all their first-round draft picks: [Day Residue](https://dayresidue0.bandcamp.com/?ref=see-saw.fun), [208](https://thekinks.bandcamp.com/music?ref=see-saw.fun), and [Fen Fen](https://fenfen.bandcamp.com/music?ref=see-saw.fun). In other words, they’re tapped all the way in. Somewhere between us discussing the invention of xanthan gum and Jeffrey Dahmer’s dad’s substitute teaching, I learn Madeline’s family is originally from Detroit. It turns out this isn’t my first non-Detroit band interview after all. Crisis averted. No matter how good the music sounds on their excellent 2025 album [*Clean Living*](https://danabandohio.bandcamp.com/album/clean-living?ref=see-saw.fun), there are some bands that demand to be seen live and, halfway through their first song, it’s clear to me that DANA is one of them. With blacked-out teeth and a weather-appropriate cossack hat, Madeline puts on one hell of a show, which Chris (guitar and backing vocals), Brian (drums), and Dan (bass) facilitate by absolutely shredding. There aren’t really solos—just moments when the four of them collectively (yet somehow not chaotically) freak out. The already hypnotic experience is enhanced by the presence of the theremin, which more-than-occasionally makes it seem like Madeline is literally casting spells. They finish up and Day Residue cap the night with a reliably excellent set. Show over, I track down Madeline, who rounds up the rest of the band, and we all collectively realize it’s too loud in the building and too goddamned windy outside (there is, in fact, a wind *advisory*). The decision is made that the interview will be conducted in their white 2018 Chevy Express van and I’m honored to sit shotgun. Chris offers me a yerba mate and Dan offers me some grape and strawberry Nerds from the king size box. I decline both, but instantly regret not accepting a handful of Nerds. It is 1:15 a.m. *In an effort to put the reader inside this shockingly normal-smelling van, I have created the below audioscape, which captures the wind howling outside, Dan’s Nerds consumption, and Chris’ genuinely charming habit of leaving the van to say what’s up to all of his Detroit friends as they leave.* dana van simulator by rocco tenaglia iii 0:00 /163.3495 1× --- **I was reading about the Ohio lineage of your sound and your influences being** [**Pere Ubu**](https://pereubu.bandcamp.com/?ref=see-saw.fun) **and** [**Brainiac**](https://brainiac.bandcamp.com/?ref=see-saw.fun)**. I was wondering if that was conscious or an organic thing that just happens in Ohio, where you make a bunch of crazy, awesome sounds.** Madeline: I think it’s a little of both. When the band started, that was the short list of influences. We just love and are proud of the music from the region and maybe one of us gravitates to one band, or different armpit of the state, more than the other- Chris: We’re from the four armpits of Ohio, like the *Captain Planet* of Ohio. Madeline: None of us is from Columbus originally. Chris: She’s northwest, Dan’s northeast, I’m from Portsmouth, and Brian’s from Dayton. **One of my best friends is from Dayton.** Chris: One of the guys we were playing with on this tour kept being like, “Ohio, Ohio, man,” and it feels good sometimes to hear other people say it. Brian: Yeah, it was Drew Carey. \[*everyone laughs*\] ![DANA’s Madeline performing at Paris Bar in Detroit on February 20; photos by Doug Coombe](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/03/Dana-Live-The-Paris-Bar-Detroit-Feb-20-2026-by-Doug-Coombe-2.jpg) DANA’s Madeline performing at Paris Bar in Detroit on February 20; photos by Doug Coombe **I’m sure you’ve been asked, but the theremin feels essential to the band. I can see people saying it’s just to be…** Madeline: Novel? **Right, you don’t want to say, “gimmick,” but if I hear there’s a punk band with a theremin, I’ll think, “huh.” But after seeing you guys and hearing your stuff, it’s such an essential part of the sound.** Brian: It fits right in there. If you write something the theremin can’t go wild over, is it really a DANA song? Dan: Pretty much the three of us play like nutcases and the theremin circles everything back around so it’s centered. **Right, it…** Chris: Ties the room together? Brian:[ “Phone’s ringin’, Dude.”](https://www.youtube.com/watch?v=BqOLKAJ8Irk&ref=see-saw.fun) \[*everyone laughs*\] Madeline: I feel like when I started out, part of the appeal was that I could contribute to the composition without being tethered to an amp. It was Chris’ theremin and I had a guitar he really liked. Brian: It was his fault. Madeline: It’s all his fault! He wanted to borrow my guitar for a tour with a different band and I said, “You can do that, but as collateral let me use that theremin, ‘cause I’m working on a new band.” I had a lot of hubris getting into that instrument, because I was like, \[*supreme confidence voice*\] “I don’t even have to touch it.” Turns out it’s extremely difficult. And I’ve run it through guitar pedals, and changed the tuning, and made it my own and figured it out. And it only took like ten years. \[*laughs*\] **Are you conscious of the visual aspect of playing it?** Madeline: It’s just what it looks like. I know it looks like I’m doing close-up magic and I’m trying to be like \[*she mimes playing it*\] “oooooohhhh.” **So you can’t master it where it’s like, “OK, I’m gonna do this move and make it sound cool”?** Madeline: It’s just the way she goes, really. I might be doing something or approaching it physically in a certain way and then realize I need to shift my weight a little bit, because it’ll change the octave. It’s a proximity-based instrument. But I do feel like, very early on, I was doing more textural stuff. I remember someone from a noise rock band—that I will not name, who is an asshole—saw me setting up at a show and they were like, \[*asshole voice*\] “theremin!” And they fucking walked out, which I thought was very ironic, considering the kind of music that they make. Around that same era, another girl I knew from the garage rock world was like, “You don’t even need it, you’re that good, you don’t need it.” But I was like, “Well I *wanna* do it.” **It’s cool!** Brian: Someone playing theremin looks like if someone was playing guitar and the guitar disappeared. Madeline: That's what I hoped to get out of it. Running it through guitar pedals, it was like a way for me to shred without playing guitar. I fancied myself a guitar player for a period of time, but I have little hands and I’m not good at it. Brian: Your hands *are* tiny. Chris: Oh I thought she meant she has less hands than most people. Madeline: Oh I *got* hands. Brian: What does Austin Powers say? “Carnies…” Chris: Redacted, redacted. **No Austin Powers quotes in the interview?** Brian: Oh, behave. **I was wondering if there’s any hip-hop influence, specifically in Madeline’s vocals. There’s a certain rhythm to some of the vocals. I went back and listened to** [**“Creamed Corn”**](https://www.youtube.com/watch?v=ieWHkEWgLV8&list=RDieWHkEWgLV8&start%5Fradio=1&ref=see-saw.fun) **\[off their 2019 album** [***Glowing Auras and Black Money***](https://danabandohio.bandcamp.com/album/glowing-auras-and-black-money?ref=see-saw.fun)**\], with that “three, six, nine, damn you’re fine,” line.** Madeline: Hip-hop is absolutely an influence. Brian: Major influence. Madeline: I grew up in an era where hip-hop became pop music. I remember somebody asking me, “Is this stuff inspired by, like, Suburban Lawns?” I was like, “I like that band a lot, but to be honest it was Lil Wayne.” I like malaprop wordplay and things where you don’t get it right away. I try to structure things that way and it makes it fun for me. Dan: What was the “chickenhead” line you were talking about earlier? Madeline: It’s not worth mentioning. \[*everyone laughs*\]When I wrote “Creamed Corn,” Chris didn’t catch it right away... Chris: It was a James Brown thing. Madeline: Well the song’s *about* James Brown. I grew up on pre-disco soul, Stax, Atlantic, Motown records, so that song was just kind of ostensibly about James Brown, but it was a nod to the influence of soul, funk, R&B, hip-hop. It’s an intrinsic part of me as a songwriter and as a performer, because it’s what I grew up with and what I admire. Chris: There’s a very good chance that eventually Juicy J will be on a show with us. \[*everyone laughs*\] [**“Time Suck(s)”**](https://danabandohio.bandcamp.com/track/time-suck-s-3?ref=see-saw.fun) **was, for me, the Rosetta Stone for your guys’ sound, where I was listening and thinking, “This could have been a straight-ahead punk song and it’s not. It’s a DANA song.”** Chris: Someone said that’s like the one song where there’s a melodic guitar line that’s the same as the vocal line. Our friend Mickey from \[the great Columbus band\] [Golomb](https://golomb.bandcamp.com/?ref=see-saw.fun) was like, “You guys should do *that* more.” Also *that* is inspired by[ Egyptian Lover](https://www.youtube.com/watch?v=3vXRRXgXYmw&ref=see-saw.fun), I have to say. Maybe now that I said it, someone might be like, “Oh, that makes sense.” Madeline: “We’re suing!” \[*everyone laughs*\]We were often so focused on doing the thing that you didn’t expect us to do in a song, that doing the thing that’s more traditional *was* novel and exciting. Like me doing a soft vocal line and people go, “Oh, I didn’t even know you could do that.” **Do you guys work around those freakout parts? I mean, I’m assuming you guys all write together.** Dan: I think generally it just kind of happens. Chris: We’ll get together and, the more time goes on, we’ve made a pact that we’re not going to practice the old songs. So most of the time we spend practicing is just working on new stuff and finishing the things. We used to just *drill* the old material and I can’t believe we ever did that. Madline: If we’re playing consistently, it’s not really necessary, unless there’s something we want to bring back from the dead. But lately, we’ve written a lot of new stuff, and the way it’s kind of gone is I’ll be like, “I’m gonna run upstairs and get a cup of coffee,” and they’ll just start fucking around and I’ll hit record on my phone and then go, “I really liked that.” Brian: But then sometimes we’re just like… Madeline: Sometimes you’re doing ridiculous shit. Chris: We have like five side projects that are just when she goes to the bathroom. Madeline: One of the songs we played tonight is an unreleased song and it was born out of these guys riffing and it was kind of nu-metal adjacent and I was like, “No I actually kind of loved that.” There was something there. And then we built off of that. Chris: We have a rule that—it’s not a real rule, but it’s kind of like… Madeline and Dan: There are no rules. Chris: Every time we make a song where we accidentally are flirting with egg punk territory, we have to make a nu-metal sounding song to balance it out. **No egg punk?** Madeline: Dan has a CCTV tattoo on his leg; don’t get it twisted. Chris: We’re fans. **There’s some good stuff, you just don’t want people to say it about you?** Madeline: Look, \[*laughs*\] we’re trying to diversify our bonds. Chris: On the Europe tour, that was the main time they kept promoting us as an egg punk band and I get it. It’s good to say a thing that will make people come to a show. **People love subgenres.** Brian: I love subgenres. Italian sub. Turkey sub. Madeline: It depended on the zone. Closer to Italy, it would be “egg,” but parts of the Netherlands would be like, “They sound like Butthole Surfers.” Chris: The next record is called *Radiation Clause* and that started with us joking about how we were exempt from not being allowed to make egg punk. With the Lumpy thing, we were like, “Oh, but Ohio and Indiana get to still do it,” and later we learned that "radiation clause" is a real insurance term, meaning the insurer is exempt from covering damages caused by "nuclear incidents." ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/03/Dana-Band-Shots-The-Paris-Bar-Detroit-Feb-20-2026-by-Doug-Coombe-11.jpg) DANA at Paris Bar in Detroit on February 20; photos by Doug Coombe **When is the next record coming?** Brian: Should be like two months. \[*everyone laughs*\] Chris: Or maybe like 2035? Brian: It’s like *Chinese Democracy*. \[*everyone laughs*\] Chris: It’s mostly written. Dan: Yeah. Well, the pandemic kind of screwed up a lot of things. Chris: Well that’s why the last record took so long. They had very social jobs. Dan was doing valet, and Brian was working at a coffee shop, and Madeline and I were running a venue. So we were completely not working and they were always around people, so we thought we were probably gonna get COVID if we had band practice. But they didn’t get COVID. Madeline: And I’ve gotten COVID like four fuckin’ times. **Me too.** Chris: Not me! Madeline: The minute we could start playing shows again—I just love playing live shows. The biggest appeal of being in a band for me is playing live, so the minute we could start playing shows again, we hit it really hard. Chris: So we went to the South! \[*everyone laughs*\] Madeline: We toured a *bunch*. We did SXSW a number of times and just toured a ton. And we were writing stuff and were like, “Oh, we kinda forgot to put out a fuckin’ record. We’ve been so focused on playing shows, but we have to record these songs and release them. Then we can play shows again to sell people the record.” \[*laughs*\] Chris: We’re normally almost a full record ahead of whatever we have vinyl of. Madeline: The record that came out in June, we’ve been playing some of those songs for a couple years. Some for a little bit less. “Time Suck(s)” was written pretty late. Chris: And “Ether Frolic.” **What about “Mankind”?** Chris: That one was written when we re-watched *Twin Peaks: The Return* and it was inspired by “She’s Gone Away,” the Nine Inch Nails song. Madeline: We were like, “We could do a noisy groover like that.” And then one year, for Chris’ birthday, I got him Mick Foley’s autobiography and I was just like, “I really like this guy.” Dan: We have a [Socko](https://www.youtube.com/watch?v=s7dBPXYowGk&ref=see-saw.fun) around here somewhere. **Don’t do it to me!** Dan: We bought him on tour and he’s kind of our mascot. Madeline: We went to some record and novelty collectibles store in Mansfield I think? It was a really weird vibe and they had an official Socko sock discounted for two bucks and we were just like, “Well we’re fuckin’ getting it.” **You should Socko the theremin.** Madline: I’ve thought about it. --- *see/saw is a reader-supported punk + rock'n'roll newsletter. If you enjoyed this feature, please share and* [*subscribe*](https://see-saw.fun/#/portal/)*.* ### punk this week podcast: 2m8o + top shortage URL: https://see-saw.fun/punk-this-week-podcast-2m8o-top-shortage/ Last updated: 2026-03-17T19:11:18.000Z [Punk This Week](https://see-saw.fun/tag/podcast/) *is see/saw’s weekly podcast from co-hosts Evan Minsker and Nina Corcoran—a discussion of the latest and greatest in the world of punk rock. We talk about six new punk records we’re loving from the past week. Note: Ad-free and bonus episodes are available only to paid* [*see/saw subscribers*](https://see-saw.fun/punk-this-week-podcast-fugazi-pura-mania/#/portal/)*with the link at the bottom of this page!* We talk about dry cookies while faced with the reality of [Gooey Cookie](https://see-saw.fun/punk-this-week-powerplant-guitar-wolf-2m80-13-more/), saying goodbye to a very good Wigglytuff, and the exceptional new Chris Fleming special, plus new records by [2m8o](https://utgrecords.bandcamp.com/album/popcorn-ceilings?ref=see-saw.fun), [Top Shortage](https://topshortage.bandcamp.com/album/contre-nature?ref=see-saw.fun), [Faucheuse](https://symphonyofdestruction.bandcamp.com/album/comme-un-poignard-lp?ref=see-saw.fun), [Chalk](https://chalkbelfast.bandcamp.com/album/crystalpunk?ref=see-saw.fun), [Ismatic Guru](https://ismaticguru.bandcamp.com/album/crocbrain-or-two-big-steps-for-mankind?ref=see-saw.fun), and the aforementioned Gooey Cookie. Be sure to check out the new ones from [Powerplant](https://ppowerplant.bandcamp.com/album/bridge-of-sacrifice?ref=see-saw.fun), [Guitar Wolf](https://guitarwolf.bandcamp.com/album/more-jet?ref=see-saw.fun), [GUNNER](https://heltaskeltarecords.bandcamp.com/album/reality-soldier-7?ref=see-saw.fun), and [Harvey Rushmore & the Octopus](https://harveyrushmoreandtheoctopus.bandcamp.com/album/mindsuckers?ref=see-saw.fun). Shout-out [ISS](https://iss2012.bandcamp.com/album/spikes-2?ref=see-saw.fun)’ chain punk jibbitz. --- *Punk This Week* is a [Ruinous Media](https://www.ruinousmedia.com/?ref=see-saw.fun) podcast; thanks to Ruinous for their support. Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.funhttps://feeds.captivate.fm/punk-this-week/). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/see%5Fsaw.fun/?ref=see-saw.fun) and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). Have a question you’d like to hear addressed on the show? Want to talk about a new record we didn’t discuss? **Want to send a HARD PIVOT bumper?** Join us on the see/saw [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun) or email us: [see-saw@see-saw.fun](mailto:see-saw@see-saw.fun). *Punk This Week* is made possible first and foremost by see/saw subscribers. Please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-fugazi-pura-mania/#/portal/) if you enjoy this podcast. You’ll get ad-free and bonus episodes, plus you’ll learn about way more new punk records! _This post is for paying subscribers only._ ### punk this week: powerplant, guitar wolf, 2m8o + 13 more URL: https://see-saw.fun/punk-this-week-powerplant-guitar-wolf-2m80-13-more/ Last updated: 2026-03-13T22:20:07.000Z Hey, it’s [Punk This Week](https://see-saw.fun/tag/punk-this-week/). Today we got the long-anticipated return from Powerplant, a surprise full-length from Guitar Wolf, plus new ones from Daniel Romano’s Outfit, 2m8o, Shop Talk, Ismatic Guru, and more. Want to hear an unbelievable French hardcore via NWOBHM record? An astounding hardcore record from Perth? A Cuban band’s self-produced record that sounds like Unwound? This [column](https://see-saw.fun/tag/punk-this-week/), where new punk and rock'n'roll recommendations get delivered to your inbox every single week, is available to [paid see/saw subscribers](https://see-saw.fun/#/portal/). That’s $4/month, $40/year, or barter (hit me up and we’ll figure something out). The money gets you access to the column, [bonus podcasts](https://see-saw.fun/tag/jukebox/), and the [radio archive](https://see-saw.fun/see-saw-radio/). This is an entirely independent endeavor. Any money helps keep it alive. See you at the [TAKAAT show](https://www.eaushift.com/product/takaat-censer-shift/3N34ZWU3VEPIXNOAWYM7VFAW?cp=true&sa=false&sbp=false&q=false&category%5Fid=2K5X3O2LAL4KW5BEZSWXW47O&ref=see-saw.fun) in Eau Claire on Wednesday? --- **Powerplant:** [***Bridge of Sacrifice***](https://ppowerplant.bandcamp.com/album/bridge-of-sacrifice?ref=see-saw.fun) **\[Arcane Dynamics\]** After the undeniable pop excellence of “Heat,” I wasn’t excited about what the opening title track from Powerplant’s *Bridge of Sacrifice* seemed to foretell. The lead single and its accompanying video foregrounded storm the castle gimmickry via dungeon synth black metal. It’s a pleasant surprise to find that this album, while embodying its chosen aesthetic as fully as possible across an entire album, never exhausts the listener with the bit. It’s a record that knows when to ease all the way back off the smothering double-bass before rearing all the way back up. The lyrics feel human even while they’re in full costume. There’s a real sense of their best pop songwriting coming through on “Last Wheel” and “Wingspan” even as it embraces the same genre decisions that kick the album off. After EPs, loose singles, and *Stump Soup*, this is the first new full-length Theo Zhykharyev has delivered in seven years, and in some ways, it’s a far cry from what he delivered with *People in the Sun*. In others, *Bridge of Sacrifice* just feels like the winter to the first album or “Heat”’s summer. This is the latest installment in the discography of someone who’s exceptional at writing hooks, but doesn’t seem interested in retreading the same sonic ground again and again. The allegations of cosplay or surface level D&D-washing just don’t stick to this record. This guy has handed us his latest screenplay, and it’s got some of his best songs in here. (“Wingspan,” for real, is a major Powerplant song.) Whatever he turns in next time, there’s no way it’s a direct sequel. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/03/a4248709920_10.jpg)](https://ppowerplant.bandcamp.com/album/bridge-of-sacrifice?ref=see-saw.fun) --- _This post is for paying subscribers only._ ### guyscrapers set their sights high URL: https://see-saw.fun/guyscrapers-set-their-sights-high/ Last updated: 2026-03-11T20:05:24.000Z When making garage rock in Ridgewood, Queens, the physical lack of a garage has led [Guyscrapers](https://www.instagram.com/guyscrapers/?hl=en&ref=see-saw.fun) to take up basement rock. Just before this interview began, tracking for the next tape was underway below the apartment that a few members share. Guyscrapers’ first two releases, [*Why?scrapers*](https://giantbeat.bandcamp.com/album/why-scrapers?ref=see-saw.fun)and *This Is Called Practice*, have three songs each. Their next tape, *Tour de Force*, is their longest yet with six. The band is made up of Leighton Branaugh (lead vocals and guitar), Sean Lawson (guitar), Tyler Phillips (drums), and Joe Restivo (bass). They would follow our chat by closing a gig at a newly opened artist’s space in Bushwick. Upon our meeting, however, it was only 4 pm, and the only priority was having a good chat and finishing case of beer. In the year since they’ve made their debut, Guyscrapers have become a staple to the scene, headlining just about every local gig, and with good cause. They’re following the legacy set by decades of garage rock devotees before them with a fresh approach. Both in music and stage presence, they’re fast, loud, and full of passion. These guys aren’t here to show off their technical prowess or pedalboards—they’re here to have fun. Clearly, the crowd responds. With every show the dance circle grows. Give them another year and who knows where they might end up. --- **You’re celebrating your first anniversary as a band. How does that feel?** Leighton: It’s pretty awesome. We played our first real show a year ago. Sean: Gold Sounds, February 7\. It’s weird, I mean, me and Leigton have been writing stuff for longer. Leighton: It’s probably been like at least two years or something. Sean: Yeah, I feel like once we started going in the garage rock direction, it’s been like a year and a half. **How did you all come together as a band?** Leighton: Me, Tyler, and Sean, grew up together in the Denton area of Texas. Sean: It first started with me and Leighton. Leighton had moved here from Austin, and we wanted to start a band. We tried a bunch of different things and then eventually started writing garage rock kind of stuff, and we were like, “Yeah, this is a good direction. Let’s go this way.” And it almost wasn’t really a question if Tyler should play drums. Leighton: Yeah, well, that’s after our first choice wasn’t able to make it. It was actually me. But I was busy playing guitar, so I couldn't. Tyler: And then Joe came along, too. Joe: They found me through a flyer. They’d never met an Italian person. Tyler: We’re very fascinated, us Texans. Leighton: Yeah, Sean took a picture of a flyer for a band looking for a drummer, and I responded to it, and it was Joe’s band. Joe: We were playing together for a little bit. We did like one or two shows, I honestly don’t even know. And then I guess it was sometime in like summer 2024, Leighton texted me: “Do you wanna join a band?” They sent me these songs, and I could not make them out at all. I had to show up to rehearsal so unprepared, and I remember Sean showing me how to play some of the songs. But I was pretty intimidated ’cause they were really good musicians. Leighton: But also, the songs were our first demos. Me and Sean would go to our practice space and just write a song, and then we would just record a demo super fast on the four-track. Most of our first recordings sounded so bad. Sean: But in a fun way. Tyler: Even though it was garage rock, wasn’t there also some sort of like Beefheart thing you were doing at the time as well? Sean: Yeah, I mean, we were still figuring out what we wanted to do, and since then we’ve refined what we’re going for and have a clearer idea of the sound. But I still feel like there’s room for us to grow. There’s places we can take it and explore new things. Leighton: It’s interesting to me that we write songs in batches. Or like, we won’t write a song for like a month or two, but then we’ll write three in a week. I feel like they all sound like us, but each batch is a little different. **Is that where the tapes of three songs come from?** Leighton: Yeah. That’s what the first two were. Today we just started recording a tour tape and it’s six songs. We’ve only recorded drums, but they sound really good. It’s the best drum sound in the world. Tyler: Our drum tech Humberto did well. Sean: We’ve always talked about how we wanna have more songs than we need. So I’ve written a bunch of songs, and we’re like, “OK, these are the three best ones. Let’s do like those.” Thin it down to just the really good stuff. Leighton: Because we’ve definitely written like a fair share of songs that aren’t that good. Sean: Yeah, there’s a bunch of songs we used to play that we don’t play anymore ’cause they’re not as good as what we have now. Joe: We had this song called “Giant Beat,” which is the name of Leighton’s label now, but I loved it ’cause it was very fun to play and very...I don’t know, would you call it post-punky? Leighton: I feel like that was a Beefheart song. Sean: That’s probably our most Beefheart. Joe: Yeah and I loved it. Sean and I, as a joke now, always play it. I wanted to play it all the time, but then I was always voted out. But then I realized we’re trying to be like something else. And once I realized what we were trying to, be I was like, *OK, I get it now*. Tyler: No beef at all. **Do you have any other muses?** Sean: Me and Leighton both love rock music, but we listen to different stuff and I think that comes together in the writing in a cool way. We both have a lot of input and a lot of creative ideas that go into it. And then also bringing it to the band, I think that’s where it really gets special. Leighton: To me, I feel like it’s the Ramones and Weezer and Gizmos and the Beatles. Joe: I feel like we have like a bunch of influences. If you go to our rehearsal it’s like 25%, like us playing our own songs. And the other 75% is just playing Led Zeppelin songs. Leighton: It’s just like random riffs. Joe: We get very little done. They’re all *School of Rock* guys. They know all these fucking songs. Leighton: At our first show, our soundcheck was... Tyler: We all played different Led Zeppelin songs. I played “Good Times, Bad Times.” Leighton played “Black Dog.” Sean played “Whole Lotta Love,” and Joe played like “Dazed and Confused” or something. Joe: And then people thought it was a song, Leighton: That’s what that fucking song “Giant Beat” sounds like. Some fucking bullshit. They’re just playing some random bullshit. Sean: We’ve done some good covers. We’ve done Weezer, we did Tom Petty. Leighton: We had to stop playing Weezer because people were being annoying about it. We would end a set, and they were like, “Play Weezer. Play ‘Surf Wax America.’” Tyler: In Toronto, we played the first five seconds of “Tom Sawyer” to just kind of give the people of Toronto what they love. Sean: When we played in Ann Arbor, we played “Search and Destroy” like four times. Leighton: Ann Arbor was so funny ‘cause our whole set, we kept getting technical difficulties, and then each time we would just play “Search and Destroy.” Sean: I remember I broke a string, and I was searching for a guitar to use. And then you guys played “Search and Destroy,” and Max \[Bottner from National Photo Committee\] went up to sing it. Joe: I remember Max after that too, asking if we could find a place to stay. Max was just like, if anyone fucks with me, I would love to stay at your place. And I just remember radio silence after that. No one said anything. They were very nice people. **What do you think about being a band in New York City? What’s been your take on the scene as people who moved here?** Leighton: The scene here is just so spread out. In other cities, especially in the Midwest, every band is good, and it’s so put together and bands are actually playing with each other a lot. I feel like bands aren’t friends here like they are in other places. Sean: There’s just like a million different scenes all in New York together, and there’s some overlap, but it’s not very defined. Leighton: I just think that whenever you live in a place where there’s so many artists, there’s bound to be a lot of bad bands. Joe: Yeah, it’s very oversaturated here. But it’s OK. Leighton: But there’s a lot of great bands also. And there’s a lot of bands that I really love. Joe: There’s as many great bands here as in any other city. But I think people want to come to New York City and play music, and that just invites a lot of shit. Turn New York on its side and all its loose pieces fall out. Tyler: It does seem like a Brooklyn and Queens thing, though. I feel like I don't know much from Manhattan. And I feel like the bands from Manhattan are the ones that are trying to relive *Meet Me in the Bathroom* or trying to be the Strokes. Sean: The more we play, the more bands we meet and the more friends we make with other bands and I like it. We’re going somewhere. Especially like with us only being like a year old, it feels like we’ve come the furthest out of pretty much any band I’m in. Tyler: It feels like people like us, so that’s nice. **Every time I go to one of your shows, the crowd gets bigger and everyone dances and there’s a really positive energy. Do you feel that on stage?** Sean: Yeah, definitely. I keep waiting for the show where we play to two people and it hasn’t really happened yet. I mean there’s been like a couple where it’s been not as many people compared to bands I’ve been in in the past where I’ve literally played to the sound person and that’s it. Tyler: Me and Sean were in a band once where it actually was that, and it was at Gold Sounds. We played to only the sound person and I think during the last song, two people showed up who were our bass player’s friends. Joe: I’ve been in bands, where we had to borderline beg people to come to the show. You have to do all the Instagram bullshit and stuff. Leighton: But now it’s just one post of the flyer, one story post. Joe: It’s beautiful. Sean: I don’t even know the login for the Instagram and I refuse to log in. Tyler: It’s nice because every show we’ve played, we’re usually playing with other bands who also have good attendance. And also this is the first band I’ve played in where most of our shows, there’s other things going on at the show, like people selling zines. There’s always like another thing happening within the show that makes it more communal, which I think is quite nice. ![Guyscrapers, photo by Kate Vitali](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/03/35260008.jpg) Guyscrapers, photo by Kate Vitali **And what about your connection to the scene outside of New York through friends in Chicago and Texas?** Leighton: It’s pretty beautiful just being in the circle of bands around the country because they come here, they ask you to book a show and then when you go there, they book a show. Tyler: I mean, we’ve only toured mostly in the Midwest and Canada and a little bit on the East Coast. We’ve just found very lovely people in every city. Leighton: The Midwest is the best. I like that we’ve connected with a lot of Midwest bands. We’re good friends with Jack \[Abbott from Answering Machines\] so we’ve met a lot of Chicago bands through him. Sean: It’s also pretty awesome that we’ve gotten to take part in something like [Bread and Roses](https://see-saw.fun/nycs-bread-roses-fest-was-a-diy-utopia/). That was a really awesome community of New York bands and bands that weren’t from New York just like coming together. I feel super lucky. Leighton: [That was definitely one of the best weekends of all time](https://see-saw.fun/nycs-bread-roses-fest-was-a-diy-utopia/). Joe: It was wild. I hadn’t met a lot of people in those bands up until that point, and seeing everyone interact and stuff, you would’ve thought everyone was from one city. It just made you realize how small the world is, and tour did the same thing for me too. These are bands that are actually kind of part of the whole scene and it’s not just by city. Very like-minded people. Leighton: Seeing the poster for the North Carolina pop festival \[the Big Pop Show\] that we’re playing, it is funny, like, oh, it’s just all our friends. It’s gonna be so great. And that’s the last stop on our tour too. Tyler: Very excited to go to North Carolina. I’m very big on geography and when we go into certain states I like listening to bands from the state right when we enter the border. You know, playing maybe somebody like Common when you enter Chicago, Illinois? Joe: That’s not who we listened to when we got into Illinois. Leighton: Who did we listen to? Joe: Sufjan Stevens. Tyler: What were we listening to in Montreal? Sean: Oh, we listened to Leonard Cohen. Joe: My cousin, when we were in Montreal, was just like, do you guys know Mac DeMarco? Do you guys know Preoccupations? Do you know this other Montreal band? Leighton: Cindy Lee came to our show in Montreal, and we’re lucky that we didn't know that Cindy Lee was there. We saw the back of Cindy Lee’s head. Sean: Someone was like, oh, that person that just walked away was Cindy Lee. Tyler: We geeked out. Leighton: I was geeking. And someone said they liked our show. Tyler: The hardest thing was driving in Montreal ’cause the switching of the language on the signs. Leighton: Sean’s a horrible driver. He accelerates on the exits, like on the 20 mph loop exits, this guy fucking speeds up. My Italian friend here gets really stressed out. Tyler: Joe gets very angry. Joe: Well, they’re from Texas, so they don’t know how to drive. Tyler: There were times where one of us was driving and there would be some sort of issue in the traffic, and Joe, if he was sitting in the passenger seat, would reach over and put his hand on the steering wheel. Joe: I would honk for you because you don’t know when to honk. The horn is there for a reason. Tyler: But yeah, touring is beautiful. And we’re going to see cities we haven’t been to. Leighton: I’m just excited that it’s gonna be a few days longer. Our last tour was awesome because it was our first tour and we toured with Answering Machines. So I’m excited now because it was like training wheels for everyone. There’s a few different bands that we’re playing with and it's longer and we’re going to Texas. We’re doing South By which is gonna be crazy ’cause we’re just going and we’re playing. The goal is like two shows a day. **What’s next? I guess putting together the rest of this tape?** Leighton: Yeah, recording and tour. Joe: It feels like we’re going in a good direction, with shows and tour and writing and recording. I just wanna keep doing that. Leighton: At the end of last year, it felt like it was really picking up and then it felt a little slow to me for a few months. But now the tour is coming up and we’re doing this tape. I just really want to get the tape out. --- *see/saw is a reader-supported independent newsletter. If you enjoyed this article, please share and subscribe!* ### punk this week podcast: fugazi + pura manía URL: https://see-saw.fun/punk-this-week-podcast-fugazi-pura-mania/ Last updated: 2026-03-10T17:42:07.000Z [Punk This Week](https://see-saw.fun/tag/podcast/) *is see/saw’s weekly podcast from co-hosts Evan Minsker and Nina Corcoran—a discussion of the latest and greatest in the world of punk rock. We talk about six new punk records we’re loving from the past week. Note: Ad-free and bonus episodes are available only to paid* [*see/saw subscribers*](https://see-saw.fun/punk-this-week-podcast-landowner-station-model-violence/#/portal/)*with the link at the bottom of this page!* After discussing our listeners’ own sightings of Pokémon in the pit (following [last week’s](https://see-saw.fun/punk-this-week-podcast-landowner-station-model-violence/) extensive Poké chat), we talk about [Fugazi](https://fugazi.bandcamp.com/album/albini-sessions-benefit-for-letters-charity?ref=see-saw.fun)’s finally officially released sessions with the late Steve Albini. We also talk about new records by [Pura Manía](https://puramania.bandcamp.com/album/la-banda-es-la-ley?ref=see-saw.fun), [Swirls](https://swirlsband.bandcamp.com/album/surge?ref=see-saw.fun), [Yankee Bastard](https://sexfiendabomination.bandcamp.com/album/seongun?ref=see-saw.fun), [Powerwasher](https://powerwasher.bandcamp.com/album/pressure?ref=see-saw.fun), and [Reek Minds](https://blackwaterrecords.bandcamp.com/album/reek-minds-eternal-reek?ref=see-saw.fun). Check out [Fugazi’s 2005 set in Huntington, West Virginia](https://dischord.com/fugazi%5Flive%5Fseries/huntington-wv-usa-40502?ref=see-saw.fun) and the Caddywhompus album [*Odd Hours*](https://caddywhompus.bandcamp.com/album/odd-hours?ref=see-saw.fun). ![Snorlax vibing to Reek Minds’ Eternal Reek, photo by Nina Corcoran](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/03/7620786602769974047.JPG) Snorlax vibing to Reek Minds’ Eternal Reek, photo by Nina Corcoran --- *Punk This Week* is a [Ruinous Media](https://www.ruinousmedia.com/?ref=see-saw.fun) podcast; thanks to Ruinous for their support. Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.funhttps://feeds.captivate.fm/punk-this-week/). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/see%5Fsaw.fun/?ref=see-saw.fun) and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). Have a question you’d like to hear addressed on the show? Want to talk about a new record we didn’t discuss? **Want to send a HARD PIVOT bumper?** Join us on the see/saw [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun) or email us: [see-saw@see-saw.fun](mailto:see-saw@see-saw.fun). *Punk This Week* is made possible first and foremost by see/saw subscribers. Please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-landowner-station-model-violence/#/portal/) if you enjoy this podcast. You’ll get ad-free and bonus episodes, plus you’ll learn about way more new punk records! _This post is for paying subscribers only._ ### punk this week: pura manía, powerwasher, yankee bastard + 13 more URL: https://see-saw.fun/punk-this-week-pura-mania-powerwasher-yankee-bastard-13-more/ Last updated: 2026-03-06T22:06:43.000Z Hey, it’s [Punk This Week](https://see-saw.fun/tag/punk-this-week/), see/saw’s recommendations round-up of the best punk and rock'n'roll records. For seven days, the United States has been at war with Iran. It’s incredibly fucked up and heartbreaking. Perhaps fittingly, the best new punk records lean toward the intense—a bevy of exceptional hardcore rippers are here to fuel your anger toward the fascist fucks dropping missiles and wiping out massive swaths of innocent people under the banner of profit. The spiel: see/saw is an independent reader-supported punk publication. There aren’t any suits paying me a salary (nice), so continued support from readers is the only thing that’s been keeping this thing going for almost two years now. That’s why the weekly column is only available in full to those who [subscribe](https://see-saw.fun/punk-this-week-station-model-violence-draumar-landowner-15-more/#/portal/) for $4/month, $40/year, or [barter](https://see-saw.fun/bartering/) (hit me up). [Punk This Week](https://see-saw.fun/tag/punk-this-week/), [bonus podcasts](https://see-saw.fun/tag/jukebox/) (including the new [Eraser episode of *see/saw jukebox*](https://see-saw.fun/see-saw-jukebox-09-eraser/)), and the full [see/saw radio archive](https://see-saw.fun/see-saw-radio/) are what’s behind the paywall. There’s free stuff, too, if you want to subscribe for free. Regardless of whether or not you click below, check out the new [*Music for Iran*](https://wlfmusicforiran.bandcamp.com/album/music-for-iran-volume-4?ref=see-saw.fun) benefit compilation. Maybe I’ll see you at [one of the shows this month](https://see-saw.fun/see-saw-presents-four-shows-in-march-2026//). --- **Pura Manía:** [***La Banda Es la Ley***](https://puramania.bandcamp.com/album/la-banda-es-la-ley?ref=see-saw.fun) **\[Roachleg\]** The Vancouver and Mexico City punks Pura Manía return with the follow-up to their stellar 2024 EP [*Extraños Casos De La Vida Real*](https://puramania.bandcamp.com/album/extra-os-casos-de-la-vida-real?ref=see-saw.fun), and that kicks ass. This band balances buoyant synth-forward new wave with biting, jagged vocals. “Contando Cucarachas En Mi Barrio” has never made counting cockroaches sound so intense, but there’s also pop warmth and production that sounds absolutely top shelf. That’s the magic of *La Banda Es la Ley*—it’s post-punk that’s catchy, warm, danceable, anthemic, and furious. A soundtrack for smoking cigarettes while cleaning a pocket knife by the light of a gorgeous sunset. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/03/a2961412605_10.jpg)](https://puramania.bandcamp.com/album/la-banda-es-la-ley?ref=see-saw.fun) --- _This post is for paying subscribers only._ ### see/saw presents: four shows in march 2026 URL: https://see-saw.fun/see-saw-presents-four-shows-in-march-2026/ Last updated: 2026-08-06T14:17:40.000Z Hey, [I’m throwing shows](https://see-saw.fun/see-saw-presents/). I’ve got eight lined up this year so far. I wasn’t planning to do this many, but I love throwing shows and all these I’ve got lined up are going to be super fun. I’d love to see you at these, I think they’re going to be a really good time. Tomorrow (March 6), the run begins at Leona’s in Eau Claire with three sick bands: [Greg Wheeler & the Poly Mall Cops](https://polymallcops.bandcamp.com/?ref=see-saw.fun), [Panel](https://panelpanelbobanel.bandcamp.com/album/a-great-time-to-be-an-empath?ref=see-saw.fun), and [Two Castles](https://twocastles.bandcamp.com/track/survive?ref=see-saw.fun). On March 18, [TAKAAT](https://takaat.bandcamp.com/album/takaat-is-noise-vol-3?ref=see-saw.fun) are coming to SHIFT in Eau Claire. It’s going to be so sick. It’s Mdou Moctar’s band getting real noisy in one of the best coffee shops in the Chippewa Valley. It’s the first ever show for Censer, the Minneapolis band featuring Uranium Club’s Brendan Wells. Tickets are [here](https://www.eaushift.com/product/takaat-censer-shift/3N34ZWU3VEPIXNOAWYM7VFAW?cp=true&sa=false&sbp=false&q=false&category%5Fid=2K5X3O2LAL4KW5BEZSWXW47O&ref=see-saw.fun). March 27 at NEW WORLD in Minneapolis (ask a punk), four bands are playing the now-annual “before” show. U.T.A.I., Heather the Jerk, PORQ, and Makin’ Out are playing. DJ FUCK ICE will be there. (It’s Doug.) Then on March 28, [see/saw year 2](https://see-saw.fun/get-your-tickets-to-see-saw-year-2-in-minneapolis/) takes place. It’s seven bands between two rooms at Eagles #34 in Minneapolis. It’s the Sleaze (reuniting for this occasion), Bermuda Squares, Kilynn Lunsford, Miracle Debt, TY, BUIO OMEGA, and W-9 are going to play. (Couple changes to the lineup: Cruelster and T.A.C.K. had to drop.) [Tickets are $20 in advance](https://see-sawdotfun.bandcamp.com/merch/see-saw-year-2-ticket?ref=see-saw.fun). Mark your calendars! Come hang out! Find info for the April and May shows [here](https://see-saw.fun/see-saw-presents/). --- March 6, see/saw presents Greg Wheeler & the Poly Mall Cops, Panel, Two Castles Leona's, Eau Claire doors 8:30, bands 9, $15, 18+ ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/03/Poster-030626.png) --- March 18, see/saw presents TAKAAT, Censer SHIFT, Eau Claire doors 6:30, bands 7 $15/adv, $20/door, all ages [get tickets](https://www.eaushift.com/product/takaat-censer-shift/3N34ZWU3VEPIXNOAWYM7VFAW?cp=true&sa=false&sbp=false&q=false&category%5Fid=2K5X3O2LAL4KW5BEZSWXW47O&ref=see-saw.fun) ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/03/Poster-031826.png) --- March 27, before year 2 U.T.A.I., Heather the Jerk, PORQ, Makin’ Out \+ DJ FUCK ICE NEW WORLD, Minneapolis (ask a punk) doors 7, bands 8, $15, all ages ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/03/before-year-two.jpeg) --- March 28, see/saw year 2 The Sleaze (first “and only” show in 13 years) Kilynn Lunsford, Bermuda Squares Miracle Debt, TY, BUIO OMEGA, W-9 Eagles #34, Minneapolis doors 6:30, bands 7, $20 adv, $25 door, 21+ [get tickets](https://see-sawdotfun.bandcamp.com/merch/see-saw-year-2-ticket?ref=see-saw.fun) ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/03/BW-Poster.jpeg) ### punk this week podcast: landowner + station model violence URL: https://see-saw.fun/punk-this-week-podcast-landowner-station-model-violence/ Last updated: 2026-03-03T20:42:25.000Z [Punk This Week](https://see-saw.fun/tag/podcast/) *is see/saw’s weekly podcast from co-hosts Evan Minsker and Nina Corcoran—a discussion of the latest and greatest in the world of punk rock. We talk about six new punk records we’re loving from the past week. Note: Ad-free and bonus episodes are available only to paid* [*see/saw subscribers*](https://see-saw.fun/punk-this-week-podcast-institute-hotbrothers/#/portal/)*with the link at the bottom of this page!* Who’s that Pokémon??? Nina returns from Boston as our co-hosts discuss the next three starter Pokémon. We fixate hard on one in particular and begin to wonder which Pokémon we’ve encountered irl in the pit. We also discuss new records from [Landowner](https://landowner.bandcamp.com/album/assumption?ref=see-saw.fun), [Station Model Violence](https://staticshockrecords.bandcamp.com/album/station-model-violence?ref=see-saw.fun), [byproxy](https://byproxy.bandcamp.com/album/byproxy?ref=see-saw.fun), [DRAÜMAR](https://draumar.bandcamp.com/album/dra-mar?ref=see-saw.fun), [King Slender](https://immigrantsunrecords.bandcamp.com/album/there-is-your-image-in-light?ref=see-saw.fun), and [Die Knöpf](https://dieknoepfe.bandcamp.com/album/demo-tape?ref=see-saw.fun). ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/03/IMG_6905.jpeg) Browt, Pombon, and Gecqua --- *Punk This Week* is a [Ruinous Media](https://www.ruinousmedia.com/?ref=see-saw.fun) podcast; thanks to Ruinous for their support. Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.funhttps://feeds.captivate.fm/punk-this-week/). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/see%5Fsaw.fun/?ref=see-saw.fun) and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). Have a question you’d like to hear addressed on the show? Want to talk about a new record we didn’t discuss? **Want to send a HARD PIVOT bumper?** Join us on the see/saw [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun) or email us: [see-saw@see-saw.fun](mailto:see-saw@see-saw.fun). *Punk This Week* is made possible first and foremost by see/saw subscribers. Please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-institute-hotbrothers/#/portal/) if you enjoy this podcast. You’ll get ad-free and bonus episodes, plus you’ll learn about way more new punk records! _This post is for paying subscribers only._ ### playlist: the 54 best punk songs of february 2026 URL: https://see-saw.fun/playlist-the-54-best-punk-songs-of-february-2026/ Last updated: 2026-03-02T23:11:58.000Z February was a fever dream. It began with a [freelance story written for *Rolling Stone*](https://www.rollingstone.com/culture/culture-features/minneapolis-ice-punks-diy-1235512606/?ref=see-saw.fun) about the Minneapolis DIY/punk community’s response to the ICE occupation. Mid-month, there was the multi-label [punk records raffle](https://www.instagram.com/p/DU%5Fj3fqEUBu/?ref=see-saw.fun) that ultimately raised $4,000 for Minneapolis mutual aid. It ended with my 3-year-old child throwing up for 24 hours. I did a ton of laundry while wondering if I’ve caught his bug or if my gut is in a knot because our government has launched another violent and horrific international conflict. Somewhere between all that, I organized some [upcoming punk shows](https://see-saw.fun/see-saw-presents/), co-hosted and edited [podcasts](https://see-saw.fun/tag/podcast/), put together [radio shows](https://see-saw.fun/see-saw-radio/), and published features about [Mod Lang](https://see-saw.fun/mod-lang-make-pop-rock-for-mothers-and-meatheads-alike/), [Big Clown](https://see-saw.fun/a-big-clown-tour-diary-blood-insomnia-the-revenge-of-road-nachos/), and [Itchy & the Nits](https://see-saw.fun/we-now-return-to-it/). There’s been some stressful personal life bullshit, but honestly there’s only one new development from the past month that matters: Every night, my kid tells me to pick up my guitar, sits next to me, and says “let’s sing ‘Yellow Submarine.’” We put away our phones and sing his favorite songs every night. Here are the best punk songs from February. [Donate to Minneapolis mutual aid](https://linktr.ee/Mplsicewatch?ref=see-saw.fun). [Subscribe to see/saw](https://see-saw.fun/#/portal/). ❤️ --- [**the 54 best punk songs of february 2026**](https://www.buymusic.club/list/seesaw-seesaws-best-punk-songs-of-february-2026?ref=see-saw.fun) The Nervous - I Got a Sickness ZERO SUM - Prima Facie Twisted Teens - Not Real P. Noid - Downpour The Spatulas - Flowers Heather the Jerk - Said What I Said Pura Manía - Amor de Coladera (Veneno y Glam) Ritual Cross - General Dynamics Personal Style - Garbage Can 悶煮悶大乐团 MENGZHUMENG - Cool Band W-9 - Mommy byproxy - Dark Oxygen Vipers - Coxinha Motherfuckers 2m8o - Angle Numbers Timeout Room - Don't You Feel Better Off? Institute - Why Are These Men Still Alive? Top Secret Nicho - Lands Public Figures - Repeat It D.Sablu - Love What You Hate (and Love that you Hate it) Station Model Violence - Learn to Hate odex - six not nine SETTIMANA MISTICA - VIVERE E MORIRE PER IL ROCK ITCHY & THE NITS - Nudie Beach Mod Lang - What I Can't Have Private Lives - Think I'm Coming Around snarewaves - STR8 FROM THA BASEMENT Bowler - Gutter Ball Dog Chocolate - Architecture Days DRAÜMAR - Ta meg med CROSS - BEGGING THE SWORD Dog Lips - Pub Stars Skelett - Digital Dumpster Bruise Control - Be Like You ones and twos - On Your Axis Class Act - malaise Aidmoozic - Shamefully Out of Shape Die Knöpfe - ICH LIEBE MICH, MANCHMAL EYE BALL - BIG GREEN HILL Landowner - Parapet Wall Dizzy Daze - Not Today Van Goth - DDB xray xeroxx - Art Rock! Crystal Ball - Die Laughing Badger Hunt - Like A Ladybug Jacques Grêle et les Fausses Fuites - Artistes Giallo - A Blade in the Dark Hillbomb - Cereal Milk LARRY & THEE JERRYS - FRANK (YOU WERE A BOY TOO) B.O.R.N. - Reaction Buio Omega - Nervous Breakdown (Black Flag) Jumbo XL - Glitter ozzie hair - have you got the (guts) AG-3 - DOGFIGHT Flower Power - Garden Trap ### punk this week: station model violence, draümar, landowner + 15 more URL: https://see-saw.fun/punk-this-week-station-model-violence-draumar-landowner-15-more/ Last updated: 2026-02-28T17:33:41.000Z Hey, it’s [Punk This Week](https://see-saw.fun/tag/punk-this-week/), see/saw’s rundown of the latest and greatest punk & rock'n'roll records. If you’ve ever enjoyed the works of Total Control or R.M.F.C., it is time to accept Station Model Violence into your heart. There are excellent records out this week by DRAÜMAR, Landowner, odex, and Dog Chocolate. There’s a benefit comp stacked with egg punk greats. As always, there’s astounding music being made by new projects across the world. It’s another very good week for this shit. This column is only available in full to those who [subscribe](https://see-saw.fun/punk-this-week-public-figures-mod-lang-heather-the-jerk-10-more/#/portal/) for $4/month, $40/year, or [barter](https://see-saw.fun/bartering/) (hit me up). [Punk This Week](https://see-saw.fun/tag/punk-this-week/), [bonus podcasts](https://see-saw.fun/tag/jukebox/) (including the new [Eraser episode of *see/saw jukebox*](https://see-saw.fun/see-saw-jukebox-09-eraser/)), and the full [see/saw radio archive](https://see-saw.fun/see-saw-radio/) are what’s behind the paywall. There’s free stuff, too, if you want to subscribe for free. --- **Station Model Violence:** [***Station Model Violence***](https://staticshockrecords.bandcamp.com/album/station-model-violence?ref=see-saw.fun) **\[Anti Fade/Static Shock\]** During an interview surrounding the release of Total Control’s *Typical System* in 2014, DX introduced me to E.M. Cioran’s *Anathemas and Admirations*. I’ve picked it up a few times, read a bit, and put it back down. I’ve carried it on planes where it sat in my bag uncracked. I’ve digested the writer’s appraisal of Fitzgerald’s *Crack-Up* (and otherwise skewering of Fitzgerald’s earlier writing), but little else. A dozen years later, Station Model Violence are invoking the writer William Gass and declaring that it’s time for all of us to live our hate out loud. I’ll never read through DX’s bookshelf, but what a privilege to live with another stunning work featuring his stamp. Many songs from *Station Model Violence* are born of DX and Michael (from Den)’s earlier band KX Aminal. At some point DX started making stuff with Buz from R.M.F.C. The promise of all these minds working together sounded excellent on paper, even better on the single-length version of “Heat,” and is a fucking revelation across the album’s full runtime. *Station Model Violence* is fronted by DX’s deep but vulnerable voice, always seeming to offer guidance: “face the sky” or “learn to hate in the light of day.” It’s not just how the words “I can taste the sun” sound aspirational in a vacuum—it’s hearing the absolutely fucking beatific sonic context that sentiment glows from within. The 12-string guitars, that tone that feels like it’s buzzing from a Bowie/Eno Berlin session, echoing horns, and perhaps most crucially, its bolstering and even regenerative percussive pulse. So much about this album at first blush is straight-up devotional—their repetition-driven impulses that feel geared for meditation or movement. There’s this other piece to it—this lowkey impishness that’s pretty apparent on their ripper “Drip Away” (“a beautiful song about your meat melting under surveillance”). DX wrote that they were inspired by Iggy’s term “pastoral psychedelicism.” Crucially, they were also inspired by the visual of Iggy saying those words while sitting spread eagle on the beach drilling holes into coconuts. That’s what this album feels like—some of Australian punk’s best minds delivering something searching and confident while grinning in broad daylight. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/02/a2191204723_10.jpg)](https://staticshockrecords.bandcamp.com/album/station-model-violence?ref=see-saw.fun) _This post is for paying subscribers only._ ### see/saw jukebox: eraser URL: https://see-saw.fun/see-saw-jukebox-09-eraser/ Last updated: 2026-06-04T22:11:37.000Z [*see/saw jukebox*](https://see-saw.fun/tag/jukebox/)is a bonus podcast about perfect punk records from *Punk This Week* hosts Nina Corcoran and Evan Minsker. Each episode, we’re joined by special guests to curate perfect punk records for a mythical jukebox. All episodes of *see/saw jukebox* are available exclusively to [paid see/saw subscribers](https://see-saw.fun/see-saw-jukebox-08-the-marked-mens-jeff-burke-mark-ryan/#/portal/) ($4/month or $40/year or [barter](https://see-saw.fun/bartering/) \+ there’s a two-week free trial). This time, we’re joined by Philadelphia punk greats Sonam, Kat, Juliette, and Pier of [Eraser](https://wereeraser.bandcamp.com/album/hideout?ref=see-saw.fun). After some light inter-band tension regarding Dry January and shellfish allergies, we discuss six perfect punk records, the creation of their excellent mini-album *Hideout*, and a middle-of-nowhere coin pusher named Bonus Hole. Gifts are exchanged! Spontaneous songwriting plans are plotted! Find out what’s new to the jukebox + listen below. Catch Eraser [on tour with Winston Hightower](https://www.instagram.com/p/DUnvCYSETE3/?hl=en&img%5Findex=1&ref=see-saw.fun)! They’re playing a see/saw show in Minneapolis! _This post is for paying subscribers only._ ### punk this week podcast: institute + hotbrothers URL: https://see-saw.fun/punk-this-week-podcast-institute-hotbrothers/ Last updated: 2026-02-24T23:41:23.000Z [Punk This Week](https://see-saw.fun/tag/podcast/) *is see/saw’s weekly podcast from co-hosts Evan Minsker and Nina Corcoran—a discussion of the latest and greatest in the world of punk rock. We talk about six new punk records we’re loving from the past week. Note: Ad-free and bonus episodes are available only to paid* [*see/saw subscribers*](https://see-saw.fun/punk-this-week-podcast-twisted-teens-jacques-grele/#/portal/)*with the link at the bottom of this page!* Evan and Nina underline what’s been true all along: we’re Oscar and Slimy. Evan hangs out with [the Sleaze](https://see-saw.fun/get-your-tickets-to-see-saw-year-2-in-minneapolis/), their dachshund friend, and [the End Press](https://www.instagram.com/the.end.press/?hl=en&ref=see-saw.fun) in Minneapolis. [Ritual Cross](https://ritualcross.bandcamp.com/?ref=see-saw.fun)’ David Anthony gets a very specific compliment(?) from a child. We discuss a revelatory grilled cheese sandwich and rank Chicago-style hot dog ingredients. And of course, we talk about six great new punk records by [Institute](https://institute.bandcamp.com/album/institute?ref=see-saw.fun), [hotbrothers](https://hotbrothers.bandcamp.com/album/year-of-the-dog-that-bit-you?ref=see-saw.fun), [Heather the Jerk](https://heatherthejerk.bandcamp.com/album/scroll-if-you-love-devil?ref=see-saw.fun), [Personal Style](https://recordbeach.bandcamp.com/album/garbage-can?ref=see-saw.fun), [Mod Lang](https://modlangdetroit.bandcamp.com/album/borrowed-time?utm%5Fsource=album%5Frelease&utm%5Fmedium=email&utm%5Fcontent=fanpub%5Ffnb&utm%5Fcampaign=modlangdetroit%2Balbum%2Bborrowed-time), and [Hillbomb](https://hillbombsux.bandcamp.com/album/choomah-mass-psychosis?ref=see-saw.fun). Be sure to check out Nina’s Best New Music [review of Twisted Teens’ *Blame the Clown*](https://pitchfork.com/reviews/albums/twisted-teens-blame-the-clown/?ref=see-saw.fun) (an album discussed on [last week’s podcast](https://see-saw.fun/punk-this-week-podcast-twisted-teens-jacques-grele/)) for Pitchfork. And definitely read Rocco Tenaglia’s new [interview with Mod Lang for see/saw](https://see-saw.fun/mod-lang-make-pop-rock-for-mothers-and-meatheads-alike/). --- *Punk This Week* is a [Ruinous Media](https://www.ruinousmedia.com/?ref=see-saw.fun) podcast; thanks to Ruinous for their support. Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.funhttps://feeds.captivate.fm/punk-this-week/). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/see%5Fsaw.fun/?ref=see-saw.fun) and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). Have a question you’d like to hear addressed on the show? Want to talk about a new record we didn’t discuss? **Want to send a HARD PIVOT bumper?** Join us on the see/saw [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun) or email us: [see-saw@see-saw.fun](mailto:see-saw@see-saw.fun). *Punk This Week* is made possible first and foremost by see/saw subscribers. Please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-twisted-teens-jacques-grele/#/portal/) if you enjoy this podcast. You’ll get ad-free and bonus episodes, plus you’ll learn about way more new punk records! _This post is for paying subscribers only._ ### mod lang make pop rock for mothers and meatheads alike URL: https://see-saw.fun/mod-lang-make-pop-rock-for-mothers-and-meatheads-alike/ Last updated: 2026-02-24T17:48:18.000Z On a frigid January night in Detroit’s Cass Corridor, I’m mercifully let into Third Man Records, and out of the cold, an hour before doors. I walk in on Detroit pop rockers Mod Lang performing that most intimate and sacred rite: the sound check. They’re just wrapping up the chorus of one of the new songs and, feeling like I’m witnessing something I shouldn’t be, I awkwardly pretend to browse black and yellow mugs, yellow and black guitar straps, and Raconteurs LPs. After the song, the band and the sound guy, Cameron, begin trying to diagnose a clicking feedback that, while always annoying, occasionally sounds pretty sick. “This is Kraftwerk,” Alex jokes. Feedback sorted, Beej attacks the kit and, like nothing happened, the band launch into “Without You” from the excellent [*snap! crackle! pop! where the action is vol. 1*](https://hotsoundshotsounds.bandcamp.com/album/snap-crackle-pop-where-the-action-is-vol-1?ref=see-saw.fun) like it’s the middle of their set. Ava asks Cameron for “a kiss of snare,” later amending it to “a Valentine’s peck.” I begin earnestly developing the opinion that the sound check is actually the only *true* way to experience live music. I’m writing a much worse, much more annoying intro in my head when they rip into the chorus of “What I Can’t Have,” the stellar opener off their upcoming debut album [*Borrowed Time*](https://modlangdetroit.bandcamp.com/album/borrowed-time?ref=see-saw.fun). After a makeshift medley of “She Loves You,” a second Beatles song I can’t recall, and a truly memorable rendition of “Mary Had a Little Lamb,” they decide they sound good, and they’re right. Antonio gets off the stage and introduces himself to me and we walk by a cozy lounge area in the back of the venue and into what I can only assume is the most luxurious green room situation in any non-arena venue in the state of Michigan. Naturally, when the time comes to gather the rest of the band and sit down for the interview, we choose a six foot by six foot liminal space connecting the green room to a large, hotel-style bathroom. Later, when Sharp Pins’ Joe Glass politely interrupts the interview to cut through the space looking for a towel, I learn there’s also a shower in there. During the interview we talk about the importance of pop music, gush about Ween, and honor our mothers. We welcome *two* surprise visitors, one from this realm (the aforementioned Glass) and one from beyond! We don’t go into Alex and Antonio’s *Call of Duty: Black Ops III* Zombies addiction, and there are two reasons for this. The first is that I’m a bad journalist and the second is that I had already wasted a substantial portion of their interview time waxing on about how much I love Ween. And I’m doing it again here. Fuck! --- **We all know what mods are, but what’s Mod Lang, I couldn’t find anything on the internet** Beej: Didn’t do the homework! \[*everyone laughs*\] **I tried to!** Ava: If you have to ask, you’ll never know. Antonio: Directly, it’s a [Big Star song](https://www.youtube.com/watch?v=3PsQazxHcaQ&ref=see-saw.fun) off the album *Radio City*, but Mod Lang is also short for modern language Alex: It was a class that Chris Bell was taking at community college and thought would be a cool name for a song. Antonio: I think it’s a great song, but the aspect of modern language is also cool, because Mod Lang was a new step for me in life and in music. Ava: It was almost Kanga Roo. Antonio: Yeah, Ava and I were looking through song names, because we were like “so many cool bands are secretly named after song names,” so we went through albums and albums like “oh that’s cool, is that used?” Ava: We were at Kyle and Shelby’s house \[of [208](https://thekinks.bandcamp.com/album/possession?ref=see-saw.fun)\] and there was a book and Kyle was like “open the book and the first thing that you point to,” and we flipped it open and it was Kang a Roo and there’s a Big Star song called “[Kangaroo](https://www.youtube.com/watch?v=cifB5rpD2OE&ref=see-saw.fun)” that rocks, but then Antonio was like “what about Mod Lang?” **Sounds like some Rick Rubin shit.** Antonio: Just open the book, take your shoes off, and make some banana bread! Ava: Where’s my latte? \[*everyone laughs*\] ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/02/Mod-Lang-The-Paris-Bar-Detroit-Feb-21-2026-by-Doug-Coombe-32.jpg) Mod Lang perform at their record release show; photos by [Doug Coombe](https://www.dougcoombe.com/?ref=see-saw.fun) **There’s something in the ether right now with what I guess you’d call a ’60s revival. Do you think there’s a reason for that?** Antonio: I think all of us have always been obsessed with ’60s stuff, but speaking for me personally, it was always like simple, garage, kind of meathead hard rock shit. But as I’ve gotten older, I’d see more bands that were poppier, like [Shadow Show](https://shadowshow-detroit.bandcamp.com/?ref=see-saw.fun) \[one of Ava’s other bands\] or [Secondary Colors](https://secondarycolorsband.bandcamp.com/?ref=see-saw.fun) \[Alex’s other project that Antonio joined\] and that inspired me a lot. I discovered a lot more ’60s pop from there. All the songs that did the garage rock stuff had the pop hooks, and I just never paid attention to any of that. Alex: Pop music is awesome and its progression is really cool. I was just listening to Wire yesterday and I forgot how good they are. And it’s super poppy. There’s so much pop that I’ve neglected, until the last couple years, that extends past 1975\. Antonio: Yeah I hated the Flamin’ Groovies, I know that doesn’t make sense. Ava: Off the record, off the record! \[*everyone laughs*\] Antonio: When I was younger, I was like, “Why is this so *clean*? This is so *lame*.” Like I said before, I was so into the fuckin’ \[*meathead voice*\] meathead shit. Beej: You like a good guitar tone. Antonio: Maybe that sounds mean to say meathead, but I embraced it, honestly. But I also neglected the clean, hooky pop stuff and have grown into liking it. Beej: We’re gonna get picketed at our next show \[*everyone laughs*\]. Jocks against Mod Lang. Alex: We’re gonna have the nerds. The nerds are gonna get our side. Antonio: I love meatheads but meathead does just sound like a really mean way to refer to it. Beej: Can you redact the word “meathead”? **It just makes me think of Meat Loaf** Antonio: Imagine sticking your guitar cable into a meat loaf and the tone that comes out is \[*approximates sound*\]. Ava: On top of being interested in the music, you’re learning how to play songs that other people have made and you just go from there learning to play the songs that you listen to. And now we can listen to songs from all decades: the deep cuts, the nuggets, where it’s cool to post a YouTube link on your Facebook ten years ago—the song no one knew about. Things that weren’t brought to the masses are now accessible in a different way, so I feel like that’s why people are able to feel inspired by stuff. **\[The lights begin flickering in our tiny room\]** Alex: We’re being haunted. Beej: Jack. Ava: He’s like, “When are you gonna say it?” Antonio: “Who said meathead?” ![Antonio and Ava performing at Mod Lang’s record release show; photos by Doug Coombe](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/02/Mod-Lang-The-Paris-Bar-Detroit-Feb-21-2026-by-Doug-Coombe-39.jpg) Antonio and Ava performing at Mod Lang’s record release show; photos by [Doug Coombe](https://www.dougcoombe.com/?ref=see-saw.fun) **It’s like that Tages song you guys had on your Instagram once.** Ava: “[I Read You Like an Open Book](https://www.youtube.com/watch?v=HapBZ99hhQ8&ref=see-saw.fun)”? I love that song. Aren’t they from Sweden? **Yeah, we’d have never heard that!** Ava: \[*sings*\] “Yeah, yeah, yeah.” It’s like the Turtles. **The Turtles are the other band I was thinking of a lot while listening to you guys. That *Battle of the Bands* record.** Ava: That record is *so* good! “[Buzzsaw](https://www.youtube.com/watch?v=s8JeONNEY9g&ref=see-saw.fun),” now that’s a meat-head song. **That record is like listening to Ween.** Antonio: Dude, Ween are so good, I love them Beej: I was literally thinking about giving Ween a chance the other day and I told [TY](https://ty4listening.bandcamp.com/?ref=see-saw.fun) \[[another band he drums for](https://see-saw.fun/ty-champion-detroit-punks-hell-yeah-moment/)\] and they were just like, “No.” **\[Antonio and I spend 3 or 4 minutes convincing Beej not to listen to his TY bandmates and to accept Ween into his heart\]** Antonio: Anyway, the heavy stuff in my life led me to a lot of the pop stuff as a teenager. Beej: So now it’s just: “Rock'n'roll is cool.” \[*everyone laughs*\] **Beej, you produced the record right?** Beej: Yeah, for the most part. We all were bouncing stuff back and forth, but I was the one who… **Made it sound the way it does?** Beej: Yeah. ![Alex performs at Mod Lang’s record release show; photos by Doug Coombe](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/02/Mod-Lang-The-Paris-Bar-Detroit-Feb-21-2026-by-Doug-Coombe-47.jpg) Alex performs at Mod Lang’s record release show; photos by [Doug Coombe](https://www.dougcoombe.com/?ref=see-saw.fun) **The record sounds so authentic to you guys without trying to sound authentic to an era. To me it was the “la la las” on the first track or the “wah wah wah” on the third track that really made it click. How important was it to get those little things right to serve the whole?** Beej: How we went about making the record was we recorded all the bass tracks at once and then they started working on all the vocals and overdubs a couple months later. Alex: And we got really into *Black Ops 3* Zombies. \[*everyone laughs*\] Beej: And I think in all of the original tracks there wasn’t any of that ear candy, it really just happened in the overdub process. I thought it was pretty important to keep it. “Cocamoda” has those “wah wah” moments and I think Antonio and Alex had a lot of cool stuff that they’d question. I think the “wah wah” Antonio did not want. Antonio: We did a different version of the “wah wah.” Maybe we said a different word? It was a lower harmony and I remember it reminding me of Harry Nilsson. Beej: And we like the Nilsson records and *Ram* by Paul McCartney and all these really human-sounding records. It doesn’t matter how you produce the records, at the end of the day you’re putting mics in front of a source. And the source is us, so it sounds like us. Antonio: It was cool to have Beej do the album, because he’s recorded a bunch of his other bands \[TY, [Fen Fen](https://fenfen.bandcamp.com/music?ref=see-saw.fun)\]. So he knows how to record right to analog or with digital or using both—working smarter not harder. I remember when we were writing songs, he was like, “hey, who’s recording the album, because I wanna record a band that’s like the ’70s.” Not clean, but… Beej: ’70s hi-fi! Antonio: Yeah! And also he’s just a wiz at it. \[*they all applaud*\] Beej: I’ve always just recorded punk bands or bands that I sing in, and I don’t sing like these guys. \[*laughs*\] I thought it would be cool to do an album where I’m not afraid tojust shove the vocal right up in your face. Antonio: I was afraid to. \[*laughs*\] Beej: Instead of just burying it in effects and making it sound like guitar or something. Ava: \[*robotically* *singing*\] “Take me back to the future.” Alex: “Common man, scum of the earth.” Alex and Ava: “Only wants to multiply.” Ava: Beej has so many recordings, but… Alex: Future Drugs is so cool. Antonio: Future Drugs! Ava: [There’s one Future Drugs album](https://futuredrugsofficial.bandcamp.com/?ref=see-saw.fun) that he recorded and produced, it’s like 95% all him and it’s probably like the coolest record ever. Alex: It’s really good. Antonio: It’s recorded so well, too. I feel like my “meathead” thing sounded mean. Ava: But you’re saying it *as* a meathead. You’re like baloney, or salami. Beej: I’m confident in the words I say. Put ‘em all in there. Cancel me, I dare you! ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/02/Mod-Lang-The-Paris-Bar-Detroit-Feb-21-2026-by-Doug-Coombe-1.jpg) Mod Lang at their album release show at Detroit’s Paris Bar on February 21; photos by [Doug Coombe](https://www.dougcoombe.com/?ref=see-saw.fun) **Unlike Fen Fen, TY, and** [**COFFER**](https://cofferlovesjesus.bandcamp.com/?ref=see-saw.fun)**, this is one of the first Detroit things that I really love that I can send to a lot of people in my family and be like, “You’ll really like this.” How do you guys feel about that?** Alex: I love hearing that we’re family-friendly. Antonio: That’s very much a thing. My parents like music, but they’re Albanian, so they never knew rock’n’roll. They knew I was in Mod Lang for a long time and they’re like, “Hey, what’s up with your music?” and this was when our album was pressed and I realized I never sent them the album. I sent it to my mom and she was like, “Oh my god, I love it!” She sent it to my family, because it’s like poppy and my other band was more like rock shit, like garage rock… **Meathead shit.** Antonio: It was meathead stuff, and my mother’s not a meathead. Ava: That’s a Frank Zappa song. \[*everyone laughs*\] Antonio: My mom sent it to my aunts and uncles and I was at a family party, everyone was hanging out in the garage, and I walked in and they were all listening, and I was like: “Stop.” I get so embarrassed. Beej: Ava’s band, you could share that with your family. **I showed my dad** [**Shadow Show**](https://shadowshow-detroit.bandcamp.com/?ref=see-saw.fun)**.** Ava: But have you played the records in reverse? **Oh, I gotta do that.** Antonio: Just be prepared. Beej: It’s like *Little Nicky* Ava: Yeah, the Chicago part. [**“Oh my god, Chicago kicks ass!”** ](https://youtu.be/XJxSP3LC9BA?si=U5LzKHpHzXqw5aNs&ref=see-saw.fun)**\[*everyone laughs*\]** Ava: It’s really great to have a broad audience and, although it’s not intentional, there’s nothing wrong with it being favorable to many people. The more people that you can communicate with who have a positive reaction, that’s just a beautiful thing to put out in the world. We’re not intentionally making *music for your mom*, but your mom will probably like it. Beej: That’s a good promo! Alex: \[to no one in particular\] *I’ve* been making music for *your* mom. ![Beej performs at Mod Lang’s record release show; photos by Doug Coombe](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/02/Mod-Lang-The-Paris-Bar-Detroit-Feb-21-2026-by-Doug-Coombe-13.jpg) Beej performs at Mod Lang’s record release show; photos by [Doug Coombe](https://www.dougcoombe.com/?ref=see-saw.fun) **On the second or third album you guys definitely need to have a song that’s really stupid. I’m talking “Happy Jack,” “Magic Bus,” “Yellow Submarine…” \[*Everyone laughs and Ava starts singing “A Quick One While He’s Away.”*\]** Antonio: We’re working on something. Beej: We’ve got some silly stuff. **OK, good, I was listening to “Supersonic Rocket Ship” and I was like, “This is what they need. A really stupid song.”** Beej: You could be our manager. Ava: Yeah, every ’60s band had a shanty song or some shit. If not a shanty, perhaps a jaunt. Or, if not a jaunt, probably like a doo-wop fuckin’ thing. There’s one song in every catalogue that’s like, “Why are they talking about sailin’ on a ship?” There’s this album by a band called July and there’s one track \[“Jolly Mary”\] that’s so fucking awesome but the lyrics are like: “Sailing on a ship and the captain and the doot doot beep beep,” but it’s the most psychedelic shit you’ve ever heard. Alex: I think it would be good to write a song about that. “You could be our manager.” \[*singing*\] “You could be our manager, we’ll have you join the band.” Ava: \[*singing*\] “And if you are someone’s mom, you could be our momager.” \[*she stops*\] Are you getting this? --- *see/saw is a reader-supported publication. If you enjoyed this piece, please share it and* [*subscribe*](https://see-saw.fun/#/portal/)*.* ### punk this week: public figures, mod lang, heather the jerk + 10 more URL: https://see-saw.fun/punk-this-week-public-figures-mod-lang-heather-the-jerk-10-more/ Last updated: 2026-02-20T23:14:30.000Z Hey, it’s another round-up of new punk and rock'n'roll records: [Punk This Week](https://see-saw.fun/tag/punk-this-week/). With Public Figures and Mod Lang, Heather the Jerk and Aswan Dam, Institute and Toys That Kill, Timeout Room and D. Sablu, it’s shaping up to be another killer month and overall fantastic year for weirdos who scream into a microphone. This column is only available in full to those who [subscribe](https://see-saw.fun/punk-this-week-en-kernaghan-band-life-expectancy-15-more/#/portal/) for $4/month, $40/year, or [barter](https://see-saw.fun/bartering/) (hit me up). [Punk This Week](https://see-saw.fun/tag/punk-this-week/), [bonus podcasts](https://see-saw.fun/tag/jukebox/) (including the new [Marked Men episode of *see/saw jukebox*](https://see-saw.fun/see-saw-jukebox-08-the-marked-mens-jeff-burke-mark-ryan/)), and the full [see/saw radio archive](https://see-saw.fun/see-saw-radio/) are what’s behind the paywall. There’s free stuff, too, if you want to subscribe for free. --- **Public Figures:** [***Figure It Out!* EP**](https://publicfigures4eva.bandcamp.com/album/figure-it-out-ep?ref=see-saw.fun) **\[self-released\]** For weeks, this 7” by Naarm rockers Public Figures has been on my radar. They pay off the strength of those multiple lead singles with a record that sounds top shelf and surprisingly cohesive for how often they weave the lanes of genre. “Landed in a Trap” is full-on hardcore, sometimes they’re more glammy, some tracks feel like post-grunge alt rock standards, but the glue is charisma and outstanding hooks. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/02/a2886049426_10.jpg)](https://publicfigures4eva.bandcamp.com/album/figure-it-out-ep?ref=see-saw.fun) _This post is for paying subscribers only._ ### punk this week podcast: twisted teens + jacques grêle URL: https://see-saw.fun/punk-this-week-podcast-twisted-teens-jacques-grele/ Last updated: 2026-02-17T22:20:39.000Z [Punk This Week](https://see-saw.fun/tag/podcast/) *is see/saw’s weekly podcast from co-hosts Evan Minsker and Nina Corcoran—a discussion of the latest and greatest in the world of punk rock. We talk about six new punk records we’re loving from the past week. Note: Ad-free and bonus episodes are available only to paid* [*see/saw subscribers*](https://see-saw.fun/punk-this-week-podcast-ritual-cross-zero-sum-with-david-anthony/#/portal/)*with the link at the bottom of this page!* It’s time for Grimace lore, more viewings of *Nirvanna the Band the Show the Movie*, filling plastic Easter eggs with Nerds for percussion purposes, and a cautionary tale brought to you by *Revenge of the Sith*. Otherwise we’re gushing about the new [Twisted Teens album *Blame the Clown*](https://cpnpc.bandcamp.com/album/blame-the-clown?ref=see-saw.fun), plus the latest from [Jacques Grêle et les Fausses Fuites](https://turbodiscos.bandcamp.com/album/too-small?ref=see-saw.fun), [BALEIA BALEIA BALEIA](https://salivadiva.bandcamp.com/album/outra-vez-arroz?ref=see-saw.fun), [P. Noid](https://pocketrocketrecords.bandcamp.com/album/downpour?ref=see-saw.fun), [Angel Girl](https://angelgirl.bandcamp.com/album/life-of-an-angel?ref=see-saw.fun), and [Ozzie Hair](https://hotsoundshotsounds.bandcamp.com/album/madhouse?ref=see-saw.fun). Also be sure to check out the new [Class Act](https://classactz.bandcamp.com/album/iii?ref=see-saw.fun) and [Van Goth](https://vangothrocks.bandcamp.com/album/is-it?ref=see-saw.fun). --- *Punk This Week* is a [Ruinous Media](https://www.ruinousmedia.com/?ref=see-saw.fun) podcast; thanks to Ruinous for their support. Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.funhttps://feeds.captivate.fm/punk-this-week/). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/see%5Fsaw.fun/?ref=see-saw.fun) and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). Have a question you’d like to hear addressed on the show? Want to talk about a new record we didn’t discuss? Want to send a HARD PIVOT bumper? Join us on the see/saw [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun) or email us: [see-saw@see-saw.fun](mailto:see-saw@see-saw.fun). *Punk This Week* is made possible by see/saw subscribers; please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-ritual-cross-zero-sum-with-david-anthony/#/portal/) if you enjoy this podcast. You’ll learn about way more punk records than we can pack into the pod! _This post is for paying subscribers only._ ### a big clown tour diary: blood, insomnia + the revenge of road nachos URL: https://see-saw.fun/a-big-clown-tour-diary-blood-insomnia-the-revenge-of-road-nachos/ Last updated: 2026-02-16T17:35:04.000Z My band, [Big Clown](https://bigclown.bandcamp.com/?ref=see-saw.fun), doesn’t get to tour too often. Three of us—Stephen and Jesse on guitars, plus myself on drums—are based in Memphis. Our singer Lucy is [based in Jackson, Mississippi](https://see-saw.fun/on-css-the-mississippi-punk-dive-of-our-dreams/). Luckily, we get to do weekend runs when we can. I’ve always wanted to write a tour diary (even though I know this isn’t real touring), so I decided to document our early January run to Carbondale, Illinois and Louisville, Kentucky. The following is a (mostly) true account of events from my perspective about what it’s like to play shows in the United States’ premier clown punk outfit. --- ## **before the gigs** I can’t help but notice both flyers for this run are strongly clown themed. This makes sense for the Louisville show, a clown-themed birthday party for [Kids Born Wrong](https://kafadankontak.bandcamp.com/album/kids-born-wrong?ref=see-saw.fun)’s drummer Chase, but the Carbondale one is a truly Big Clown-inspired piece of art sporting an elderly clown. This happens to us fairly frequently–I’d hazard a guess that 40% of flyers made for our non-Memphis/Jackson shows feature a clown or two on them. I understand that we’ve brought the clown issue to the proverbial table, but I can’t help but wonder if this kind of thing happens to other bands. Do a solid chunk of Lifeguard flyers feature a guy with sunscreen on his nose sitting in a tall chair? Do Citric Dummies flyers have lemons and limes on them? I’m not complaining, but I think sometimes I forget about the clown theming of our clown band until life throws it back in my face. I don’t personally think it’s the most interesting thing about our band, but sometimes I see pictures of Lucy in full clown makeup climbing a ladder or setting off fireworks mid-song and I’m reminded that, oh, right, it’s weird that a clown with a microphone is yelling at you about her “pubic mound.” Rehearsals for this run have been shaky. Big Clown is not a band that gets to practice often due to the Memphis/Jackson split (a three hour difference, for those of you unfamiliar with Southern geography), so the shows are usually either an absolute trainwreck or borderline transcendent, with a very slim amount right in the middle. The bad stuff is pretty bad–the first time we were in Louisville, Lucy threw up in her mouth mid-song and started doing the Pee-wee Herman “Tequila” dance while trying to swallow it. Sometimes people tell us that we’re the best band they’ve ever seen, though, and that’s what keeps the Clown Car rolling. The idea for these shows is to debut new material from our upcoming album *I’m With Clown* (out on Swimming Faith Records, eventually), an ambitious proposition that feels necessary to get us comfortable with playing the material for other people. I suffer from a condition called Being a Huge Bitch About Sleeping Arrangements as a result of my chronic insomnia/anxiety about said insomnia duo diagnosis. I’m better about it these days, but I crashed and burned pretty hard exactly one day into our lone Big Tour and the experience still shades every run we do whether I want it to or not. We’re doing hotels on this run, which I guess completely shoots our Punk Cred in the proverbial foot, but I think it’s pretty fucking stupid that musicians are expected to sleep on the floor. I get the financial reality of it, but Big Clown, against all odds, has an amount of money in the bank that allows us to not sleep in the punk house next to the litter box. I’ve done my time with that and I’m over it. One time I had to disassemble an oven at 2 a.m. because it wouldn’t stop beeping right next to my head. I’m 32 and I’m not dealing with that shit anymore. I’m sleeping at two Holiday Inn Expresses and it’s gonna kick ass, even if I’m still gonna toss and turn the whole weekend. --- ![The Dorito nachos that tried to kill me; photo by Zach Mitchell](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/02/nachos-that-tried-to-kill-me.jpg) The Dorito nachos that tried to kill me; photo by Zach Mitchell ## **January 2, 2025** The average Big Clown drive is soundtracked by two things: Not Punk music and Stephen and Lucy’s snoring. The music bandies about from Faith No More’s “Epic” to Kiss’ wild misfire “Shandi” and Numero Group’s amazing yacht rock compilation *Seafaring Strangers*. The crew in the backseat stays asleep for all of it. Jesse drives the whole way and puts on the Cantina Band song from *Star Wars* when he gets bored. It rains and then it doesn’t. The drives for any band that’s been together for almost seven years are largely boring, I assume. We end up eating at a spot called Chungo’s that’s kind of like if Chipotle actively tried to kill you. The toppings are piled dangerously high and all of it seems to be in that temperature danger zone you’re supposed to avoid if you don’t want to get foodborne illnesses. I get Doritos Nachos (as in nachos crafted with Doritos), a completely unforced error that any tour veteran would slap me for even contemplating. The dish shapes my night; its toppings twist and shimmy inside of me for the next four hours. It's a mistake I know I’m making as I’m making it, but I’m powerless to stop it. The show tonight is at the Lost Cross House, which I’m told is America’s longest running punk house. Two of Lost Cross’ occupants are in [Pet Mosquito](https://petmosquito.bandcamp.com/?ref=see-saw.fun), one of the two local bands playing tonight, which makes sense. The scene here seems to revolve around them, so why shouldn’t they live at the hottest venue in town? Lost Cross, according to Evan from Pet Mosquito, has been passed down through the punk generations for 40 years and has been a happening house show venue for a majority of that time. Lost Cross was recently purchased by an old tenant, who rents it out under two conditions: the tenants keep the spirit alive and they don’t remove any of the flyers that literally wallpaper the house. The flyers extend past the living room and into the kitchen and bathroom; I think I see about three different M.O.T.O. flyers but I can’t really tell if they’re for shows at Lost Cross or not. There’s a Ramones flyer that definitely isn’t. The bathroom, charmingly, is covered in graffiti, my favorite of which is “FUK MOST SMALL BUSINESS OWNERS” emblazoned on the top of the commode. ![Big Clown’s Lucy performs at the Lost Cross punk house in Carbondale, Illinois; photo by Berget B](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/02/pet-mosquito-house-show-polaroid-6.jpg) Big Clown’s Lucy performs at the Lost Cross punk house in Carbondale, Illinois; photo by Berget B Lost Cross’ history precedes it; punks come from far and wide specifically to pay homage to the history and see whatever’s taking place there. Old occupants routinely show up and hang out on the porch to recapture part of the magic. Evan says the house is such an ingrained part of Carbondale’s culture that they’ve only had two noise complaints in the past four years that they’ve lived there. Apparently, Melissa McCarthy’s in-laws live across the street and they’re chill as hell; they don’t think the calls came from them. I do some people watching for a while from the porch, braving the freezing cold to get a handle on the Carbondale scene. I’m too used to playing shows to aging (and borderline nonexistent) Memphis crowds; the average young punk looks unrecognizable to me. There’s a bizarre mix of styles here: '00s scene, nu-metal, “classic” looking punks with crazy hairdos, a guy in an *Adventure Time* hat. I think this is (mostly) a positive sign. The punks of yore probably would’ve bullied the absolute shit out of any kid sporting a chain wallet and baggy JNCOs that wandered into the DIY gig. On the flip side, there’s a strange flattening of everything into what the teens are calling “alt” these days, which feels both welcoming and sort of meaningless at the same time. I think subcultures do need unique aesthetic signifiers to actually be meaningful, but shows like this make me wonder if the modern Young Music Enjoyer even considers that anymore. I remember going to college and having my illusion that everyone in Buddy Holly glasses was interested in indie rock shattered within about 20 minutes of being there. Was I wrong to feel that? Do kids today think that anyone that looks slightly weird shares the same worldview as them? Either way, it’s incredible to see any crowd at all show up to a punk show. Getting people to come out to the average Memphis two-local, one-touring-band show is like pulling teeth sometimes. I’m appreciative of the folks here, even if I don’t understand them. I make a note that dressing like a clown seems trendy these days, but it hits me that the clown-themed flyer for the clown-themed band has inspired the audience to turn this into a fully clown-themed show. I chat up a couple who moved from New Orleans to Carbondale two days ago, partially due to Lost Cross’ welcoming aura. One of them tells me there’s a lot of “clownfuckers” down in New Orleans now, as in men who are interested in having sex with women dressed like clowns. This unsettles me. The basement area we’re playing in has two distinct features, one physical (three columns separating the Band Area from the Audience Area) and one sociological (the audience leaves a giant semicircle open in front of the bands so that the inevitable moshers have a place to dance, which pushes everyone else to the back and sides of the room, meaning that it’s impossible for me to really see the other bands). There’s no heat in the basement, but there are enough bodies crammed into it that I stop being able to feel the cold. Sitting on the porch for a while makes my hands lock up in a way that worries me. Pleasure Petrol is on first. Everett, who also plays in Pet Mosquito, is coming down with something, so I hang in the back of the basement, nursing a horrible physical sensation in my stomach that feels like a bowling ball being thrown down a flight of stairs. Pleasure Petrol plays a lot of songs that sound like not-so-distant cousins of “Have Love Will Travel” smashed together with stonerish riffs. I have a terrible habit of needing to walk around a lot before we play, so I dip in and out and enjoy what I hear. Walking around helps me digest the nachos. Our set goes fine. The crowd loves us and I feel distrustful of their adulation. It’s nice to play to a group of kids who really fuck with what you’re doing, but there’s a large part of me that thinks this kind of show is propelled by the collective desire of the crowd to have a good time than it is by us whipping them into a frenzy through the power of Rock and Roll Music Played Well. We play Just Fine, blowing a couple of the new ones but not catastrophically so. The fucked up ones are only 45 seconds long anyway, so the energy stays high. I couldn’t really set the house kit up the way I wanted to, so any song that uses a rack tom (namely the worst song on our new record, “The Shaft”) is a struggle for me. Luckily, it doesn’t really matter. The tall guest MC air guitars right in front of me the whole time and the crowd enjoys doing the Frogman (our proprietary dance craze that everyone in Memphis hates) when Lucy screams at them to do it. ![Big Clown with the Muddy Monster outside a McDonald’s in Carbondale, photo courtesy the band](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/02/muddy-monster-outside-of-mcdonalds-1-copy.jpg) Big Clown with the Muddy Monster outside a McDonald’s in Carbondale, photo courtesy the band We clean house at the merch table, selling out of tapes entirely and getting down to a slim handful of our split 7” [*Peacocking In Memphis*](https://wfbr.bandcamp.com/album/peacocking-in-memphis-4-songs-in-tribute-to-the-river-city?ref=see-saw.fun). We give out *Razorcake* zines with our interview in them and I see someone roll a joint on a copy later. Rock and roll. A guy tells me he drove in from St. Louis to see specifically us because he’s been a huge fan for years. We tell him we play St. Louis at least once a year and this seems like news to him. A kid with the biggest liberty spikes I’ve ever seen in my life gives me a salute and tells us that it was the best show they’ve seen in their two years of going to DIY gigs. This is easy, I could do this forever. Pet Mosquito closes the show. I love Pet Mosquito. The set isn’t as weird as their transcendently sweaty Gonerfest show (where Everett ran around the pit on all fours kissing people’s feet) but it’s still great. I wish the term “junk rock” didn’t connote heroin chic, because Pet Mosquito sounds like a bag full of tools and other sundries (screws, nails, etc) being swung around a canvas tote bag. They have a telephone mic, they have a trombone, they have multiple songs where the instrumentalists throw down their gear and sing directly in the crowd. On the rock/rot/rule scale, I’m going full rule here. The hotel and the McDonald’s outside of it both have a statue of the “Muddy Monster,” Carbondale’s proprietary offbrand sasquatch. The hotel’s statue was created by a local chainsaw artist and it scares the shit out of me when I checked in. He looks kind of like my friend [Billups](https://www.instagram.com/cramholezine/?hl=en&ref=see-saw.fun). I don’t sleep well, as predicted. At around 3 a.m., I open my phone and learn that the United States has illegally extradited the president of Venezuela, the latest in a long line of acts perpetrated by this country that fly in the face of international law. I close my eyes and go back to tossing and turning in the safe arms of my racing thoughts. --- ## **January 3, 2025** I start the day by informing Stephen that our country has bombed and kidnapped the head of a sovereign state. Everyone else at breakfast is already aware and nods along solemnly. Stephen reacts to this information in the way everyone does whenever they hear about any of the fucked up things our government does: wide-eyed panic, then a “well, what are ya gonna do” slow settling. We try to remember what the draft age is and learn that it’s a ranked system where you’re deprioritized the older you get. The Big Clown Draft Rankings, by age, are as follows: 1\. Lucy 2\. Me 3\. Jesse 4\. Stephen I’m sure we all have some flat foot or mental illness that prevents us from bravely serving our country, but none of us really want to dive into the particulars over our Holiday Inn Express biscuits and gravy. In Louisville that night, we eat at the recently Bib Gourmand-awarded Vietnam Kitchen and, for some reason, discuss how we’d like to be executed if we were to have the ability to choose. Lucy picks firing squad (but only if everyone’s guns are loaded), I pick the guillotine, Jesse picks lethal injection because he likes that if it goes wrong and he just shits himself while slowly writhing, he’s created more work for whoever wanted to kill him in the first place. Tonight’s venue, Mag Bar, is already packed by the time we get there about 15 minutes before the show is scheduled to start. It’s another all ages gig, so people actually show up on time because they expect it to start on time. Why is that different for people of drinking age? What is it about consuming beer that makes you accept the great lie of Punk Time? Chase’s birthday clown theme is very strong. Tons of folks, including Chase himself, are in full clown makeup and costume. A lot of the clowns have drawn their mouth makeup in a permanent frown, making it seem like they hate the bands even when they’re bobbing their heads. My favorite clown is one in a giant camo bomber jacket and army helmet. They have two airhorns in their pockets and hand one to Chase while he’s playing. Chase asks “how loud is this?” and the clown shrugs. One tiny, incredibly loud honk and Chase throws it off to the side. The clown continues to frown. ![A camo clown punk in Louisville; photo by Zach Mitchell](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/02/clown-copy.jpg) A camo clown punk in Louisville; photo by Zach Mitchell Speaking of Kids Born Wrong—great band! They play surf-infused garage rock music about all manner of creepy crawly topics. The PA in Mag Bar actually works, and the sound guy is pretty good at his job, so I can actually make out a track about how great watching *Faces of Death* on VHS is. Chase is a fucking incredible drummer, alternating between tight rolls and bashing cymbal work with ease. The verb that keeps coming to me is “stomps,” as in, “this band fucking *stomps*.” [Mr. Clit and the Pink Cigarettes](https://mrclitandthepinkcigarettes.bandcamp.com/?ref=see-saw.fun) plays next. I feel inadequate—all four members or the Cigarettes are dressed head to toe in clown regalia and our actual clown band only has one member doing it. They play junk-not-junkie-rock and their drummer has the Gories snare sound down to a T. Jesse tells me that they don’t normally have a keyboard player on stage and, when he’s not playing, he covers their ears and dramatically cowers away from the band. It’s a cool move. I wish I could do that. The highlight of their set is a cover of “Teenage Kicks” that gets the crowd’s fists in the air. I think our show is a trainwreck as it’s happening but I’m assured later by the crowd, the other bands, and Jesse that it was actually not. I fuck up a couple of the new ones, Jesse’s amp somehow comes unplugged from the wall, and Lucy stomps directly on the cord for her vocal pedal and demolishes it. We’re constantly slightly out of tune. I can feel the crowd’s bewilderment after “Evil Music,” our short black metal track that ends with bad-on-purpose tremolo picking that I’m not sure is ever bad in the way we intend it to be. ![Mr. Clit and the Pink Cigarettes, photo by Zach Mitchell](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/02/mr-clit-1-copy.jpg) Mr. Clit and the Pink Cigarettes, photo by Zach Mitchell The kids mosh occasionally but I feel like it’s perfunctory. I am a terrible mix of horrible at judging if our shows are actually bad and totally unaware of what a perfect show would even look like. Jesse opts to skip “The Shaft,” a card he only pulls when someone is fucking up egregiously. He tries to communicate with me about why he’s pulling the nuclear option, but I can’t hear him. Turns out that he cut the absolute shit out of his hand and his guitar is covered in blood, but I don’t really grasp that until he sends me a picture of his stained guitar days later. We call an audible and end our set with “Thirsty,” a song where we steal the Torche gimmick of tuning the guitars to Drop Z and play an “Endless Nameless” ripoff. At the end of it, I punch a hole in my snare head by ramming two drum sticks through it. I do this sometimes when I feel like the show is going exceptionally well or exceptionally poorly—either one is a spectacle in its own right. I figure that if we fucked everything else up, I can at least send the crowd home happy. I spin the snare around on the drum stick and sling it off to the side, accidentally bouncing it off the backline kit’s floor tom. Whoops. Stephen and Jesse make horrific feedback and Lucy runs out of the back door of the venue. This is our routine, our traveling circus act where we slip on a banana peel right onto a whipped cream pie. Kids start storming the stage after, which is new to me. I broke a stick during the set (add it to the list) and threw it out in the crowd and it hit someone in the head, which leads to a bizarre, yet flattering, conversation with her about it. She tells me that she caught my broken stick and threw it back onstage to be helpful, but is now realizing that 1) that is actually not helpful because I’m not going to use a broken stick, and 2) she wishes she kept it. I give her another stick I used during the show and she acts like I handed her a $100 bill. She asks me if drum sticks are expensive and I say no, not really. Suddenly, two other kids show up and ask if they can have sticks too. I feel like Santa Claus handing sticks out of my bag to these kids in huge pants. One of them has me sign it, and, as soon as the Sharpie comes out, I’m having show flyers shoved in my face to sign. They all tell me it was one of the best shows they’ve ever seen (see more shows!) and one of them tags me in a post on Instagram where they call me “insanely good.” I have a hard time believing them, but it does reassure me that the show was not totally horrific. ![Crowd surfing during the Deady set, photo by Zach Mitchell](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/02/deady-crowd-surfing-copy.jpg) Crowd surfing during the Deady set, photo by Zach Mitchell I feel embarrassed about the snare destruction tantrum; one of the kids asks me why I did it and I bluntly tell her that I thought the show was going horribly and I wanted to do something dangerous and stupid. She looks at me like I’m an idiot. I’m my own worst critic, I guess. The other bands on the bill tell me that the show was great, that they’d been hearing about us for a while and we lived up to the hype. The scared keyboard player from Mr. Clit notices my bootleg All Japan Pro Wrestling sweatshirt and lifts up his sleeve to reveal a Mitsuharu Misawa tattoo. We chat for a while about how he lived out my dream of seeing a wrestling show in Japan’s legendary Korakuen Hall, and I start to remember that the beer-soaked connection at the merch table is why I make the drive. [Deady](https://deady.bandcamp.com/?ref=see-saw.fun) close the show and it’s clear that they’re local superstars ready to Level Up at some point soon. They play samples of fake radio DJs, complete with obnoxious sound effects, teeing up their next songs to cover tuning breaks. What a pro move. They have just enough songs with mosh sections to whip the crowd into a frenzy. Their set ends in chaotic fashion—they hand their guitars to different audience members to improvise while they play the last beats of their closing track. Nobody really knows what to do, and I can’t help but notice the kid with the signed drum stick is holding the lead guitar like a rockstar-in-training, grin spread wide over his face. We decamp to the hotel and watch *Jackass 2* for a while, which I’ve never seen before and don’t think I’ll finish. Tomorrow we’ll get up and silently drive back home, listening to XTC and Cheap Trick. Maybe we’ll get fast food. I hope it’s Culver’s. --- *Zach Mitchell, aka* [*@jorty\_spice*](https://www.instagram.com/jorty%5Fspice/?ref=see-saw.fun)*, is a member of the bands Big Clown and* [*Missed Dunks at Summer League*](https://misseddunksatsummerleague.bandcamp.com/album/fared-well?ref=see-saw.fun)*. He runs Machine Duplication Recordings and the newsletter* [*MDR Observer*](https://mdrobserver.substack.com/)*.* *see/saw is a reader-supported independent music publication. If you enjoyed this piece, please share it and* [*subscribe*](https://see-saw.fun/#/portal/)*.* ### punk this week: twisted teens, class act, p. noid, van goth + 14 more URL: https://see-saw.fun/punk-this-week-twisted-teens-class-act-p-noid-van-goth-14-more/ Last updated: 2026-02-14T21:38:53.000Z Hey, it’s the weekly recommendations column [Punk This Week](https://see-saw.fun/tag/punk-this-week/). What an absolutely wild week for new punk and rock'n'roll records. The Twisted Teens album has finally arrived. Class Act say goodbye. P. Noid return, Van Goth debut, Earth Tongue and Ty Segall link up. There’s a lot of good stuff to dig into this time around. I wrote over 2,000 words this time, dang. If you want to read about each and every one of these new records AND support an independent music journalism endeavor, grab a paid subscription. A [paid subscription](https://see-saw.fun/punk-this-week-w-9-itchy-the-nits-ritual-cross-17-more/#/portal/) costs $4/month or $40/year. In addition to the weekly column, you’ll also get [bonus podcasts](https://see-saw.fun/tag/jukebox/), [ad-free episodes of the regular weekly podcast](https://see-saw.fun/tag/podcast/), and the full [see/saw radio](https://see-saw.fun/see-saw-radio/) archive. Happy reading, happy listening. --- **Twisted Teens:** [***Blame the Clown***](https://jazzlife.bandcamp.com/album/blame-the-clown?ref=see-saw.fun) **\[Chain Smoking/Jazz Life\]** For literal months, this record has been sitting on my shelf; they’ve been selling these on tour and a rip of the cassette has been on YouTube for nearly that entire time. The New Orleans punks who happen to play country instruments have finally officially released the follow-up to the exceptional 2024 self-titled album. ”The green one” is streaming. Fuck yeah. There are so many songs on here that felt like classics as soon as they performed them live. “Is It Real?,” “Circus Clown,” “100 Bill Is Gone!,” “Wild Connection,” “Peekaboo Hand,” and “Not Real” are all exceptional, and that’s half the tracklist right there. Caspian is an unbelievable vocalist, whose rasp and charisma only adds character to the strength of his instrument. RJ’s pedal steel brings old world warmth to a record that feels contemporary as fuck, both in the way bars are phrased and in flourishes like the “find my phone” alert that pops up midway through a track. As a spoiler, this record (alongside the also excellent *EU EP*) was in the top 10 of this website’s broadsheet listing [the best punk records of 2025](https://see-saw.fun/see-saws-top-54-punk-rocknroll-records-of-2025-a-zine/). This band brims over with hits. They put on an amazing live show. It’s not often a band like this comes around. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/02/a1645056856_10.jpg)](https://jazzlife.bandcamp.com/album/blame-the-clown?ref=see-saw.fun) --- **Class Act:** [***iii***](https://classactz.bandcamp.com/album/iii?ref=see-saw.fun) **\[self-released\]** The third act traditionally brings clarity or narrative resolution, but with their final missive as a band, Class Act have tightened themselves into an impossible knot. *iii* isn’t a record with one clear sound, as the band have evolved to the point of uncommon time signatures and Midwest hardcore that’s folded in on itself repeatedly—a paper football made of dense bass, wild feedback, pounding drums, unhinged growls, and crunchy noise. “Make it make sense,” they demand, but they can’t make sense of a goddamn thing. Why are people joyfully splashing in the water when they can clearly see somebody’s pissing right upstream? Wait…are the band wrong and is the piss actually good? They debate with themselves, but look around and see that humanity is rendered dispensable in a post-comprehension world. Maybe this complete lack of resolution isn’t a storybook ending, but this is where the Kansas City band find themselves here at the finish line. They decided early on they would limit themselves to three records, and across their discography, their lyrics have become more solipsistic, their songwriting more circuitous. This was always a project that existed in the same basement, but soon, they’ll take their findings out on the road for the first time. They’ve been swinging wildly in the dark, every futile and chaotic attempt at understanding hitting hard as they stay in the same place. Maybe the healthy thing is to finally walk that dog. Class Act is Brady on bass, Nick on guitar, Lance on drums and vox, and Bob on drums. Say bye bye.\* [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/02/a3422722142_10.jpg)](https://classactz.bandcamp.com/album/iii?ref=see-saw.fun) --- **P. Noid:** [***Downpour***](https://pocketrocketrecords.bandcamp.com/album/downpour?ref=see-saw.fun) **\[Pocket Rocket\]** Just one month after Chicago DIY pop hook weavers/rock’n’roll wunderkinds Saskia and Jack released the [Bungee Jumpers tape](https://see-saw.fun/punk-this-week-doe-st-bungee-jumpers-flower-power-15-more/), they’re back with their project P. Noid. That project’s tape [*Penelope Noid*](https://giantbeat.bandcamp.com/album/penelope-noid?ref=see-saw.fun), which came out the tail end of 2024, was exceptional and widely overlooked. *Downpour* is a nine-song collection of lo-fi pop gems that sound like dusty mixtape classics somebody’s crush slid over in 1995\. “Saturday” and “Lucky” are unbelievable, this pair of sunny tracks that close the album with muffled earworms. Sometimes there’s a light dissonance to their music, like on “Makes Sense Now.” Like all of their projects, this is the perfect tape for a sidewalk stroll with your Walkman on an unseasonably warm winter day. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/02/a3467442087_10.jpg)](https://pocketrocketrecords.bandcamp.com/album/downpour?ref=see-saw.fun) --- **Van Goth:** [***Is It?***](https://vangothrocks.bandcamp.com/album/is-it?ref=see-saw.fun) **\[self-released\]** Here’s a disclosure that Van Goth is fronted by Sydney Salk, who has [written a bunch of stuff for see/saw](https://see-saw.fun/author/sydney/) and is a bud. Her bandmate is Simon from Choncy. Their debut album is defined by dark minimalism where their voices are accompanied by a pulsing rhythm and a bassline. Every now and then, you’ll get a few strums of a guitar, a couple notes plunked out on a synthesizer, maybe a shrill melody hammered out on a glockenspiel comes along. “The Function” is an entirely dispassionate account of going to a gig in New York City—ordering a High Life has never sounded so accurately drab—soundtracked by an excellent groove. Van Goth is inscrutable by design, and as you dive in further and further, you’re moving your feet *and* you’re in on the bit. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/02/a1590976072_10.jpg)](https://vangothrocks.bandcamp.com/album/is-it?ref=see-saw.fun) --- **Jacques Grêle et les Fausses Fuites:** [***Too Small***](https://turbodiscos.bandcamp.com/album/too-small?ref=see-saw.fun) **\[Turbo Discos\]** Jacques Grêle et les Fausses Fuites is the project of Danny Kendrick, and this record *Too Small* is a four-track masterpiece that’s both minimal and completely unpredictable. It opens with some banjo, but let’s break down “No Lyrics Left.” While Danny is singing about being creatively dried out (an apparent lie), there’s this perfect bassline, a few guitar stabs, and the only percussion is a few perfectly placed scratches of a small shaker. “My Friend’s Name” is both acoustic and warped like a track off DRINKS’ *Hippo Lite*. It’s my favorite kind of psychedelia—less about expansiveness and more about working small in unexpected ways. Somebody commented on this record’s Tremendo Garaje post that it should win a Grammy, and honestly, if there were any justice in the world, something this bedroom immaculate would get its flowers on the world’s biggest stage. It never will, so soak it up! [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/02/a1133397681_10.jpg)](https://turbodiscos.bandcamp.com/album/too-small?ref=see-saw.fun) --- **Earth Tongue:** [***Dungeon Vision***](https://earthtongue.bandcamp.com/album/dungeon-vision?ref=see-saw.fun) **\[In the Red\]** Earth Tongue are the platonic ideal when it comes to Ty Segall collaborators. The Auckland duo are out here delivering castle-storming theatrics bolstered by a massive fuzz guitar sound one minute, and the next, they’re fingerpicking an acoustic guitar and singing gently about crows and ferns. Whether they’re doing blown-out Fuzz grooves or getting *Sleeper* subtle, it all works because they’re living the gimmick as hard as they can. Even with Ty behind the boards, it’s wild how much this sounds like it could’ve been a lost entry from his back catalog, which is high praise. Most other bands trying for something like this would sound like cosplayers; Earth Tongue just sound committed. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/02/a4201833410_10.jpg)](https://earthtongue.bandcamp.com/album/dungeon-vision?ref=see-saw.fun) --- **Ozzie Hair:** [***Madhouse***](https://hotsoundshotsounds.bandcamp.com/album/madhouse?ref=see-saw.fun) **\[Hot Sounds\]** Melbourne’s Ozzie Hair is a member of the Prize and the Judges, which means he’s a killer guitarist. This new tape is sludgy and glammy classic rock that’s hazy, patient, and psychedelic. It reminds me of my favorite New England scumbag scuzz records, so RIYL *Jungle Rot*, Spacin’, or early Purling Hiss. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/02/a3080035704_10.jpg)](https://hotsoundshotsounds.bandcamp.com/album/madhouse?ref=see-saw.fun) --- **Vipers:** [***Vipers***](https://swimmingfaithrecords.bandcamp.com/album/vipers?ref=see-saw.fun) **\[Swimming Faith/Feral Kid\]** Vipers is a project helmed by Nick from Coke Bust, and he’s joined in the band by members of some killer Buffalo bands (Science Man, Radiation Risks, Brown Sugar, and Candy). These songs fucking rip, and apparently Nick’s screaming about moving from Brazil back to the U.S. I’d be screaming like I was losing my mind, too. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/02/a3309989631_10.jpg)](https://swimmingfaithrecords.bandcamp.com/album/vipers?ref=see-saw.fun) --- **Giallo:** [***Tenebrarum***](https://convulserecords.bandcamp.com/album/tenebrarum?ref=see-saw.fun) **\[Convulse\]** Exceptional riffs, absolutely feral death growl vocals, and stellar production define the heavy-as-fuck debut album from Minneapolis’ Giallo. This is a band that rules at a 31-second pummeling hardcore sprint and when they sprawl out for the more patient closer “Black Cat.” A band with multitudes with a record that will knock you over if you don’t steady yourself real quick. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/02/a0356365344_10.jpg)](https://convulserecords.bandcamp.com/album/tenebrarum?ref=see-saw.fun) --- **Private Lives:** [**“Think I’m Coming Around” b/w “Television Faces”**](https://privatelivesmtl.bandcamp.com/album/think-im-coming-around-2?ref=see-saw.fun) **\[Bachelor\]** Montreal garage punks Private Lives just released a new 7” to follow their full-length on Feel It Records this past year. The A-side is a garage punk banger with a perfect swaggering hook and a ripping guitar solo at its center. “Television Faces” doesn’t come out the gate quite as hot, but it revs up real good. I love this band in this mode. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/02/a0931660831_10.jpg)](https://privatelivesmtl.bandcamp.com/album/think-im-coming-around-2?ref=see-saw.fun) --- **Wasted Harvest/Flower Power:** [***Split***](https://bendandorbreak.bandcamp.com/album/wasted-harvest-flower-power-split?ref=see-saw.fun) **\[Bend or Break/Factory Floor\]** I’m absolutely obsessed with Flower Power, an Irish hardcore project that has released only heaters. “Yellow Oxygen,” for example, just absolutely kills. They’re a perfect foil to Wasted Harvest, a more patient UK hardcore band whose tread is steadier and slightly less volatile. Their A-side features literally one-third the number of tracks, and their closing six-minute jam takes its time. It’s hardcore that’s fried and gradual, which is a sick vibe. OK, now flip the tape and get your ass run over by Flower Power. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/02/a1536107702_10.jpg)](https://bendandorbreak.bandcamp.com/album/wasted-harvest-flower-power-split?ref=see-saw.fun) --- **S.M.I.L.E.:** [***Shut Up and S.M.I.L.E.***](https://smile330.bandcamp.com/album/shut-up-and-s-m-i-l-e?ref=see-saw.fun) **\[Delayed Gratification\]** Last year, the Akron hardcore band released a promo EP featuring some of the best songs that now appear on this full-length. It’s burly as shit and whips by pretty quick while they scream at you about how you need to fucking shut up. Fun as hell. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/02/a2573453994_10.jpg)](https://smile330.bandcamp.com/album/shut-up-and-s-m-i-l-e?ref=see-saw.fun) --- **Birth Rejects:** [***Demo***](https://ragdollrecords.bandcamp.com/album/demo-3?ref=see-saw.fun) **\[Ragdoll\]** The great Ragdoll Records returns with a new demo from the Indiana punk band Birth Rejects. The longest track is the opener “Mind Is War,” and that’s under two minutes long. This is sloppy and tape-muffled hardcore with some *Pee-wee’s Playhouse* samples, so I’m all in. Their punk names are Ritchie Dagger, Miss Isle, Chicka Yeah, and Dizzy Cadava. Amazing. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/02/a3244079425_10.jpg)](https://ragdollrecords.bandcamp.com/album/demo-3?ref=see-saw.fun) --- **Bratakus:** [***Hagridden***](https://bratakus.bandcamp.com/album/hagridden?ref=see-saw.fun) **\[Venn\]** This aggro two-piece Bratakus hails from Scotland and sounds like they’re ready for a massive stage. Bréagha and Onnagh Cuinn have the raw attack of two people trying to stir up as much shit as humanly possible while sounding mainstream radio-ready. Their lyrics are righteous, their screams are rough, and they hit hard. They sound like the best band that would land an opening slot for Green Day \[complimentary\]. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/02/a3492562221_10.jpg)](https://bratakus.bandcamp.com/album/hagridden?ref=see-saw.fun) --- **Raya:** [***2***](https://knucklesonstun.bandcamp.com/album/2?ref=see-saw.fun) **\[Knuckles on Stun/Idiotape\]** Madrid’s Raya have been churning out some exceptional eggy loosies over the past few years, and at last, we’ve got this new long-player. This is synth and drum machine-driven garage punk with a dystopic lean. “CIUDAD DEPRESIÓN” is the sweet spot where they pick up the pace. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/02/a1785357303_10.jpg)](https://knucklesonstun.bandcamp.com/album/2?ref=see-saw.fun) --- **Public Error:** [***Internet Blues***](https://knucklesonstun.bandcamp.com/album/internet-blues?ref=see-saw.fun) **\[Knuckles on Stun\]** Public Error is a sneering speed punk outfit from Tampa, and this new collection packs a minimalist budget punch. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/02/a3130948003_10.jpg)](https://knucklesonstun.bandcamp.com/album/internet-blues?ref=see-saw.fun) --- **Crystal Ball:** [***Demo tape***](https://crystalballsalop.bandcamp.com/album/demo-tape?ref=see-saw.fun) **\[self-released\]** Dour, hard-hitting garage punk from Shrewsbury that reminds me of a UK pairing with any band fronted by Chris Shaw. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/02/a0493315892_10.jpg)](https://crystalballsalop.bandcamp.com/album/demo-tape?ref=see-saw.fun) --- **Caspa:** [***I Hate Caspa***](https://dirtcultrecords.bandcamp.com/album/i-hate-caspa?ref=see-saw.fun) **\[Dirt Cult\]** San Antonio synth punks with a dark sense of humor. Tahnee’s sing-song way of speak-singing plus their sparkly synth tone and deep fuzz guitar? It’s a fantastic combination. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/02/a2400379685_10.jpg)](https://dirtcultrecords.bandcamp.com/album/i-hate-caspa?ref=see-saw.fun) --- **What else:** [PURA MANIA](https://puramania.bandcamp.com/track/amor-de-coladera-veneno-y-glam?ref=see-saw.fun) are back with a new single from a forthcoming record on Roachleg, who also dropped two from an absolutely feral new [CROSS](https://roachlegrecords.bandcamp.com/album/human-spirit?ref=see-saw.fun) record.Philadelphia thrash punks [Early Grave](https://earlygravepunk.bandcamp.com/album/winter-promo?ref=see-saw.fun) have a new three-song promo that rips. [John Wesley Coleman III](https://doobiegold.bandcamp.com/album/broken-hearts-club?ref=see-saw.fun) has a new album out. You should check out this breakneck hardcore demo from San Francisco’s [P.O.S.](https://possf.bandcamp.com/album/demo?ref=see-saw.fun) Check out new stuff from [Orsini](https://orsiniband.bandcamp.com/album/ezin-atera?ref=see-saw.fun), [Slags](https://slags.bandcamp.com/album/playing-pretend?ref=see-saw.fun), [Raw Impact](https://solarsonar.bandcamp.com/album/demo?ref=see-saw.fun), [Psychic Armour](https://psychicarmour.bandcamp.com/album/ugly-planet?ref=see-saw.fun), [Factoids](https://factoidss.bandcamp.com/album/spooky-split?ref=see-saw.fun), [Strängt Förbjudet](https://pushmybuttons.bandcamp.com/album/str-ngt-f-rbjudet?ref=see-saw.fun), [Corporate Plants](https://corporateplants.bandcamp.com/album/corporate-plants-too?ref=see-saw.fun), [HUVET](http://huvet.bandcamp.com/track/bostadsl-s?ref=see-saw.fun), [OLD](https://tohc83.bandcamp.com/album/not-dead-yet?ref=see-saw.fun), *\* Full disclosure: Class Act invited me to write a bio for the record’s Bandcamp page and I decided to publish that here rather than write a fresh blurb. This is a recommendations column, and what I wrote is essentially a two-paragraph recommendation. As payment, I asked the band to donate my fee to a Minneapolis mutual aid fund.* ### punk this week podcast: ritual cross + zero sum (with david anthony) URL: https://see-saw.fun/punk-this-week-podcast-ritual-cross-zero-sum-with-david-anthony/ Last updated: 2026-02-10T19:02:14.000Z [Punk This Week](https://see-saw.fun/tag/podcast/) *is see/saw’s weekly podcast from co-hosts Evan Minsker and Nina Corcoran—a discussion of the latest and greatest in the world of punk rock. We talk about six new punk records we’re loving from the past week. Note: Ad-free and bonus episodes are available only to paid* [*see/saw subscribers*](https://see-saw.fun/#/portal/)*with the link at the bottom of this page!* This week, Evan and Nina welcome their dear friend, the great punk writer and musician David Anthony. Following a discussion of savory ice creams (a Super Bowl tradition) and the 2026 *Muppet Show*, we make David talk about the new one by his band [Ritual Cross](https://ritualcross.bandcamp.com/album/ii?ref=see-saw.fun). He [can’t believe we’ve done this](https://www.youtube.com/watch?v=wKbU8B-QVZk&ref=see-saw.fun). We also get into new records by [Zero Sum](https://zerosumhc.bandcamp.com/album/die-fast-live?ref=see-saw.fun), [Perro Mundo](https://perromundo.bandcamp.com/album/xicago?ref=see-saw.fun), [the Nervous](https://brainrotterrecords.bandcamp.com/album/4-songs?ref=see-saw.fun), [BRICKIE](https://brickie.bandcamp.com/album/iii?ref=see-saw.fun), and [Chemical Threat](https://sttwrecords.bandcamp.com/album/promo-tape-5?ref=see-saw.fun). Go subscribe to David’s excellent newsletter [Former Clarity](https://www.formerclarity.com/?ref=see-saw.fun) and check out his podcast with Dan Ozzi, [*No Disrespect*](https://podcasts.apple.com/us/podcast/no-disrespect/id1244296047?ref=see-saw.fun). --- *Punk This Week* is a [Ruinous Media](https://www.ruinousmedia.com/?ref=see-saw.fun) podcast; thanks to Ruinous for their support. Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.funhttps://feeds.captivate.fm/punk-this-week/). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/see%5Fsaw.fun/?ref=see-saw.fun) and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). Have a question you’d like to hear addressed on the show? Want to talk about a new record we didn’t discuss? Want to send a HARD PIVOT bumper? Join us on the see/saw [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun) or email us: [see-saw@see-saw.fun](mailto:see-saw@see-saw.fun). *Punk This Week* is made possible by see/saw subscribers; please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-indirekt-grell-en-kernaghan-band/#/portal/) if you enjoy this podcast. You’ll learn about way more punk records than we can pack into the pod! _This post is for paying subscribers only._ ### we now return to itchy & the nits URL: https://see-saw.fun/we-now-return-to-it/ Last updated: 2026-02-09T17:09:49.000Z Be quiet, my show is on! [Itchy & the Nits](https://itchyandthenits.bandcamp.com/?ref=see-saw.fun) are back with a second ~~season~~ album featuring all the sun and fun of the Australian coast. A beach episode, if you will. [*Greetings From..*.](https://totalpunkrecords.bandcamp.com/album/greetings-from?ref=see-saw.fun), the new release from [Total Punk](https://totalpunkrecords.com/?srsltid=AfmBOor8Y6S9It7APClg5qebsfKDT82y3JJclIT3p7d0jWpzYHtWDb54&ref=see-saw.fun) and [Anti Fade](https://antifaderecords.bandcamp.com/?ref=see-saw.fun), finds the trio expanding their toolkit of garage goodies into longer songs and deeper grooves. But don’t go thinking the Nits have lost their mojo—this record is built from the same cloth as Thee Headcoatees, Josie and the Pussycats, and the *Girls in the Garage* series. A recap for those who haven’t previously tuned in: The band is made up of Eva on guitar, Bethany on drums, and Jacinta (Cin) on bass. Bethany and Cin are sisters. The band’s first iteration started in high school. Eva had saved up her dog walking money to buy a guitar and Beth had a drum kit at home from growing up with a musician father. Cin joined later on, and after a few years of playing around town, the band released their first EP in 2023\. Now split across Sydney and Melbourne, the band still gets their kicks in by playing gigs and touring across the world. --- **Congrats on the new album.** Eva: It’s different from our last one, so I hope people still like it. Bethany: The songs are a little bit longer, like 30 seconds longer on average. Eva: Yeah, nearly two minutes! Cin: And we recorded the album over six different sessions over the last year and a half. Bethany: We did two songs at a time—and more like two years, probably. Because “Nudie Beach,” which came out as a single, was recorded two years ago. **That was for the Total Punk Singles Club, right?** Cin: Yeah. We had happened to have it already recorded, and then Richie asked us to put out a single. We were like: “We know just the thing.” Eva: You must have known he was gonna ask. Cin: We were manifesting. **And were you already working on the new album at that time?** Eva: We had a lot of songs written, but we weren’t recording them for an album or anything. We were just writing and collecting them. **For the first one, some of the songs came from your EP, but with this one, they were entirely new. What was your approach to writing?** Bethany: If I’m writing a song, I usually think of the lyrics first, and then Eva will think of a guitar bit. Eva: Because at the time we were living far away, me and Beth would just get together and have a jam or come to each other with a song idea, like with “TV” or “Gimme a Break.” Beth had the song, and then we’d have a jam together and figure it out. Bethany: And Eva would usually have some finished songs too. But then ‘cause I don’t play guitar or anything, if I have a song idea, I’ll be like: “Can you play ‘dah dah dah’” or whatever. Eva: But it’s good. Beth’s so good at thinking of guitar things ‘cause I only ever play chords that are on a dot for some reason. It just feels like I shouldn't go away from the dot. And then Beth will be like, maybe you could do something that’s thinking outside of the dots. **When did you know that it was time to record the album?** Eva: I think it just came together. It wasn’t like we started writing the songs, being like *the album is gonna be like this* or anything. It just happened. We started recording because Dave \[Forcier\] was like, “We can just record some things and see what happens.” And then we just kept doing it. Bethany: After a few songs, “He’s like yeah, you could just do a few more songs and have an album.” Eva: We were like, “Whoa, we have enough songs for an album?” I feel like some of them are so old that I forgot about them and thought we weren’t able to use them. And I guess that’s maybe why some of them are a bit different from each other. **How did “Smelly Boys” come about, and what made you decide to release it as the first single?** Eva: “Smelly Boys” was just us messing around one day, and we were like, this is such a silly song. And then didn’t think of actually recording it. But then after a while, we were like, *I guess it’s alright*. Bethany: Yeah, we needed some new material. Cin: And then it came out as the single. Beth: A day before the single came out, we were like, “Why did we choose ‘Smelly Boys?’ Is everyone gonna think that we’re just silly?” Eva: But I guess the two singles are like two different kinds of songs that are on the album. Because otherwise, some of them are a bit more like power poppy and stuff. **The music video for the other single, “Secrets,” is awesome. Can you tell me more about it?** Eva: I made puppets, and then Beth made a set and a backdrop. Actually, Cin’s \[puppet\] is here. Oh my God, it’s falling apart. They turned out to be really big, though. Like the pattern was meant to be small, but then I didn’t think about them being in 3D, so they’re like huge. Bethany: Yeah, they’re as tall as me. Eva: But we just spent a few days and just filmed it ourselves. We just filmed random stuff with them. It’s good—crazy looking, but I think that’s the style anyway. Cin: Yeah, they were really heavy. We were all puppeteering our puppets, and we're like *ughhhh*. Eva: The heads are so high up that it uses such a weird muscle in your arm. Because there’s a stick that makes them play the instruments. To do that in time and then make them sing the words in time is like impossible. **It’s like a *Sesame Street* Ernie-style puppet.** Eva: Yeah, I actually copied the pattern from the Muppets. It’s so funny just having them now. I don’t wanna get rid of them, but they’re just like such huge things that exist in our house now. Cin: They’re your housemates. You definitely have to keep them. **Something that does tie the two albums together is that they both have a theme song. Why did you decide to write a new one?** Eva: I think for some reason, we just said that the new album should have one as well. And it’s fun to write a theme song, too. It’s easy to remember the words. Cin: That one says “welcome” in it as well. So it’s hello, everyone. And then the other ones goodbye. Eva: We usually open with the new theme song and then end with the old one. Because we used to just open with the old one and end with the old one. So now we don't have to do it twice. Cin: After the second one, everyone knows that we're done and to get the hell out... I’m just kidding. Bethany: Sometimes people are like, encore encore. But then it's awkward because we've already played the theme song. So it feels wrong to have any more songs afterwards. Cin: And then usually even during the encore, we'll play the theme song to be like, okay, that's it for real. **So you've played it three times, sometimes.** Bethany: Yeah. Like maybe on one or two occasions. Cin: Just if we need. **Would you say when you play live, you play faster?** Eva: I feel like the more nervous we are, the faster we play. Or if we're really drunk, sometimes we play really slowly. Bethany: Heaps of the recordings on the album are a lot slower than we play them live because a lot of them we recorded before we played them live, and now they've sped up so much. Eva: And then I listen to the recording, and I think it's in slow motion. You can just listen to it on double time if it’s too slow. **Do people dance at your shows?** Bethany: Maybe when we're in Melbourne. I guess people there are more into moshing. Eva: Sometimes. Our music is almost a bit too fast to dance to. Like, I don’t know how you’d work out how fast to go. In America, people were doing the thing where they, what is it? Two-stepping. And they go all the way across the stage. Cin: That was a culture shock. Eva: I thought they wanted to see which side of the amps was louder. **How was your last bit of touring in Europe?** Bethany: It was so awesome. It was crazy, though, because we don’t really play that much in Australia, so when we were there, we were playing like pretty much every day for three weeks, and we were all really tired by the end of it. Eva: It was so crazy and so much every day. But then I was so bored when I got home after that. Cin: Yeah, I got used to it. Eva: Everyone in Europe was so lovely, like the bookers and stuff, just had us stay and I couldn’t believe it. Cin: And they made us awesome dinner and breakfast, and everyone’s beds are so comfy. Eva: Yeah, we were spoiled. **What about Japan? Had you been there before?** Bethany: Me and Cin went to Japan the year before for Back from the Grave, it was so awesome. And then we hadn’t played there before, but I messaged Toyozo Toyoshima, who helps book some of the bands for it, and we asked him if we could play, and he said yeah! Eva: Yeah. I love Japan. And all the bands that we played with, like Toyozo’s band [Falling Sugar](https://fallingsugar.bandcamp.com/track/thank-you-boys?ref=see-saw.fun). I’m so obsessed with them now. **Something that you can tell in both albums is how much you love all TV and cartoons. What were some of your favorites growing up?** Eva: I just really liked the *Looney Tunes* when I was little. Whenever anyone like tells me a story or describes something, especially Beth ‘cause of her mannerisms, if she like explains something at work, I always imagine it as *Looney Tunes* in my head. Cin: Me and Beth used to watch *Roger Rabbit* a lot of times. Bethany: And definitely *SpongeBob* and *H.R. Pufnstuf.* **I was scared of *H.R. Pufnstuf!*** Beth: A lot of people say that. Cin: I guess he is a bit of a weirdo, but we love that too. Beth has a tattoo! Bethany: One time, I emailed ABC to ask if they could play the *H.R. Pufnstuf* movie, and they said no. Eva: Why not? Bethany: They said they couldn’t play it ‘cause they played it recently. And that was actually why I emailed, because I missed it. Eva: That’s crazy. You could have just looked it up on YouTube. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/02/a3355906042_10-1.jpg) **Who drew the album art?** Eva: Beth! It’s awesome. And the t-shirts. Bethany: Yeah, everything. For the last album cover, we came up with the idea for a postcard, and then we didn’t end up using it. We were gonna do it for the “Nudie Beach” single and then forgot about that. And then when we were doing the album, we were like looking at comics and stuff, and we thought that would look cool. Eva: Oh yeah, *Betty and Veronica*! It turned out awesome. **What’s up in the scenes around Sydney and Melbourne at the moment? What am I missing?** Bethany: I guess since it’s been Christmas and New Year’s and stuff, there haven’t been heaps happening at the moment. Eva: But there’s some shows coming up that will be fun. Like we’re playing with Love Banana, and I’m keen for that. Eva: We did just play in Northern New South Wales with [Cupid and the Stupids](https://cupidandthestupids.bandcamp.com/?ref=see-saw.fun) and a bunch of other bands, and they were one of the best bands I’ve ever seen in my life. Cin: The singer was also tap dancing, and the drummer was going crazy with the percussion as well, which is so awesome. We were bedazzled. Eva: And I was just down the coast, but everyone’s too scared to swim because there’s sharks everywhere right now. It’s been so many. Cin: Yeah, and there are heaps of jellyfish in Melbourne right now. So everyone’s been scared, I feel like I’d be more scared of a shark, although I don’t know how big the jellyfish are. Apparently, they’re really big. And they’re red. I don’t know. I think they’re deadly Bethany: That actually sounds even scarier than sharks. Eva: Can you fight one off? Cin: I don’t know, and they have really long tentacles. Can be meters. **I tell all my friends to visit Australia, but they all go, “Oh, we’re scared, they have big animals there.” And I’m like, “It’s a city, you don’t see the animals.”** Eva: At least it’s in the water, and I’ve never seen one before. I’m more scared of things in America, like bears. Cin: I agree. Because there’s nothing you can do if you saw a bear. If you saw a jellyfish, you could just not swim in the water. But if you saw a bear, I feel like you’d just be a goner. Eva: You can’t just not be on the land anymore. **Yeah, my boss lives in the woods, and he sends me videos of the bears in his yard.** Eva: Oh my God. But I also love to see them. When we were in Yosemite, I got up really early ‘cause apparently it was bear time and I was walking around trying to see one. I was looking around, really scared, but I was also like *I have to see one while I’m here*. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/02/000007.jpeg) Itchy & the Nits, photo by David Forcier **What’s next for Itchy & the Nits? Is it time to sit back and enjoy the album, or are you getting right back to the studio?** Bethany: I guess ‘cause we wrote all these songs a while ago. Probably start writing some more stuff. Eva: I haven’t thought that far ahead, but I feel like we’ll always have jams. Just messing around and writing silly stuff. So I guess we’ll just keep doing that and see what happens. Maybe another album will just happen before our eyes. --- *see/saw is a reader-supported publication. If you enjoyed this piece, please share and* [*subscribe to the newsletter*](https://see-saw.fun/national-photo-committee-want-to-do-this-interview-right-now/#/portal/)*.* ### punk this week: w-9, itchy & the nits, ritual cross + 17 more URL: https://see-saw.fun/punk-this-week-w-9-itchy-the-nits-ritual-cross-17-more/ Last updated: 2026-02-07T01:14:31.000Z Hey, it’s Punk This Week, and it’s a Bandcamp Friday. That means there’s a lot of new punk and rock'n'roll records to wade through, including the new full-length from Itchy & the Nits, a level-up from Chicago’s Ritual Cross, BUIO OMEGA covering Black Flag, the debut album from Cleveland’s Jaguar 777, and more. While there’s plenty of free stuff to read on see-saw.fun, this column is only available behind the paywall. A [paid subscription](https://see-saw.fun/punk-this-week-doe-st-bungee-jumpers-flower-power-15-more/#/portal/) costs $4/month or $40/year. If you spend $40 today, you’ll get a weekly email for a year with writing about the best punk rock music from all over the place. You’ll also get [bonus podcasts](https://see-saw.fun/tag/jukebox/) and the full [see/saw radio](https://see-saw.fun/see-saw-radio/) archive. Happy reading. --- **W-9:** [***Demo***](https://w-9music.bandcamp.com/album/w-9-demo?ref=see-saw.fun) **\[self-released\]** A jagged new five-piece punk operation has taken shape down in New Orleans, and their first three-song demo sounds real good. Up front is Emma Ledgerwood, who’s also in T.A.C.K. and Tonya. This record has wiry feedback and no wave switch-ups; they excel at bubbling and gradual bass murk, and when shit hits a fever pitch, it rips. Ledgerwood’s screaming the word “mommy” repeatedly into a telephone receiver while her bandmates smash through a post-punk jog. It’s a strong debut and a phenomenal example of gig economy solidarity. Is anything more punk rock than being beholden to the W9 form? (Answer: Getting paid under the table.) [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/02/a1512792042_10-1.jpg)](https://w-9music.bandcamp.com/album/w-9-demo?ref=see-saw.fun) --- _This post is for paying subscribers only._ ### punk this week podcast: indirekt grell + en kernaghan band URL: https://see-saw.fun/punk-this-week-podcast-indirekt-grell-en-kernaghan-band/ Last updated: 2026-02-03T17:58:20.000Z [Punk This Week](https://see-saw.fun/tag/podcast/) *is see/saw’s free weekly podcast from co-hosts Evan Minsker and Nina Corcoran—a discussion of the latest and greatest in the world of punk rock. We talk about six new punk records we’re loving from the past week.* What’s that? We read *books*? That’s right, we talk about some of the books we’ve been reading. After Evan went to Tom Morello’s First Avenue benefit concert [with Bruce Springsteen](https://www.rollingstone.com/music/music-live-reviews/bruce-springsteen-tom-morello-protest-minneapolis-setlist-1235508537/?ref=see-saw.fun) as the surprise “special guest,” here’s a poll for the listeners: Who would’ve been the funniest surprise if he brought out anyone but Springsteen or Zack de la Rocha? Oh right we talked about new records, too: [indirekt grell](https://indirekt-grell.bandcamp.com/track/dancing-with-a-disease?ref=see-saw.fun), [En Kernaghan Band](https://enkernaghan.bandcamp.com/album/energetik?ref=see-saw.fun), [Lovvbömbing!](https://lovvbombing.bandcamp.com/album/piss-peas-peace?ref=see-saw.fun), [Life Expectancy](https://ironlungrecords.bandcamp.com/track/screw?ref=see-saw.fun), [Horsebag](https://horsebag.bandcamp.com/track/piss-machine-3?ref=see-saw.fun), and [Cryogenic Division](https://cryogenicdivision.bandcamp.com/album/cryogenic-division?ref=see-saw.fun). If you can, please [donate to some Minneapolis mutual aid funds amid the occupation](https://linktr.ee/mplsmutualaid?ref=see-saw.fun). --- *Punk This Week* is a [Ruinous Media](https://www.ruinousmedia.com/?ref=see-saw.fun) podcast; thanks to Ruinous for their support. Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.funhttps://feeds.captivate.fm/punk-this-week/). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/see%5Fsaw.fun/?ref=see-saw.fun) and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). Have a question you’d like to hear addressed on the show? Want to talk about a new record we didn’t discuss? Want to send a HARD PIVOT bumper? Join us on the see/saw [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun) or email us: [see-saw@see-saw.fun](mailto:see-saw@see-saw.fun). *Punk This Week* is made possible by see/saw subscribers; please [consider a subscription](https://see-saw.fun/punk-this-week-plant-smetti-subito/#/portal/) if you enjoy this podcast. You’ll learn about way more punk records than we can pack into the pod! ### playlist: the 52 best punk songs of january 2026 URL: https://see-saw.fun/playlist-the-52-best-punk-songs-of-january-2026/ Last updated: 2026-02-02T17:55:16.000Z It was a deeply rough start to 2026, and people need help everywhere. Gaza’s infrastructure has largely collapsed and Minneapolis is occupied by the secret police. It’s been a month of anger and depression, so I’ve been making myself busy in a fruitless attempt to outrun it all. Countless people have talked about the inspiring nature of Minneapolis’ resistance and protest, and it’s important to remember that [the end isn’t in sight](https://www.instagram.com/p/DUOSLlaiUWS/?ref=see-saw.fun). Anything you can do to [donate](https://linktr.ee/mplsmutualaid?ref=see-saw.fun) or help is crucial. It’s not a surprise that punks have been at the forefront of community organization. Music scenes require communication and wrangling skills. When someone falls over in that city, the community rises to meet them. When anybody says “it’s punk time,” they’re not just talking about protest songs (though there’s so many of those, including two on the below playlist titled “Fuck ICE”). They’re talking about organizing. I’m doing some organizing of my own—I’ll say more soon—because the punks are showing the way. I’ve got plenty of stuff to plug, including that [2025 best punk of the year zine](https://see-saw.fun/see-saws-top-54-punk-rocknroll-records-of-2025-a-zine/) and the forthcoming [see/saw year 2 party](https://see-saw.fun/get-your-tickets-to-see-saw-year-2-in-minneapolis/). Soon I’ll share flyers for more additional shows in Eau Claire and Minneapolis. The [*Punk This Week* podcast](https://see-saw.fun/tag/podcast/) just joined Ruinous Media and we shared the new [Marked Men-featuring episode](https://see-saw.fun/see-saw-jukebox-08-the-marked-mens-jeff-burke-mark-ryan/) of the subscribers-only *see/saw jukebox* podcast. Subscribe to see/saw for $4/month or $40/year to get bonus podcasts, weekly columns, and the radio archive. This is very much a passion project without a financial net outside reader support, so anything you can throw this way helps a ton. But before you spend any money on my thing, please [donate to some Minneapolis mutual aid funds amid the occupation](https://linktr.ee/mplsmutualaid?ref=see-saw.fun). --- [**the 52 best punk songs of january 2026**](https://www.buymusic.club/list/seesaw-best-punk-january-2026?ref=see-saw.fun)\[[embedded in browser](https://see-saw.fun/punk-this-week-en-kernaghan-band-life-expectancy-15-more/)\] Flower Power: Dream Warrior En Kernaghan Band: Don’t Be Scared Doe St: Same Day Station Model Violence: Heat (Single Version) Slut Intent: Bonkers Even Teini-Pää: Haluisin kirjoittaa Disket: Running Itchy & the Nits: Secrets D.B.R.: Smirched DRAÜMAR: Atomvinter I DRAÜMAR: Atomvinter II Dry Socket: Rigged Survival Institute: The Shooter Smetti Subito: Lock Screen The Arrivals: Just Like My Brother Game Set Match: Want to Lose Yuasa-Exide: My Psychic (Electric Version) CP Westman Orkester: Adult Rock Piko: Piko Power Pants: FUCK ICE Joe Glass: New Pose Bungee Jumpers: The Beach Today’s Milk: Party Store Tylenol: Anal Drugs Season 2: Abundance of Power Waylon Thornton: Mercy Device Straight Arrows: Middleman The Moids: Maitland Man Twerp: Stinkbug Landowner: Rival Males Van Goth: Secondary Location Anytime Cowboy: Don’t Torture Me PLANT: clepto mangled: doug is my jug Dru the Drifter: Caffeine and Nicotine Rifle: The Flag Wristwatch: Spells J.A.R.T.A. Attack: Girls to the Front Ace of Spit: Weapons Down Hot Face: Pink Liquor Fog Lamp: Hallway of Mirrors Powerplant: Bridge of Sacrifice Ben and the Blackwell Babies: Ben and the Blackwell Babies Commitment: Dog Pound Tomcat: Evil Job Fuckin’ Warheads: New Age Gestapo Cockring: Come and See Giallo: Teeth of Glass GYLT: Choked Up Life Expectancy: Sold Angel Guts: FUCK ICE Rejecter: No Future ### punk this week: en kernaghan band, life expectancy + 15 more URL: https://see-saw.fun/punk-this-week-en-kernaghan-band-life-expectancy-15-more/ Last updated: 2026-01-31T21:36:31.000Z Hey, it’s [Punk This Week](https://see-saw.fun/tag/punk-this-week/), the weekly punk and rock'n'roll recommendations column. It’s out on a Saturday again out of respect for two weeks of Friday general strikes. Once again, I’d encourage you to donate to the people of Minneapolis who still live in a state of occupation by ICE. I’d also encourage you to listen to some really outstanding new records by En Kernaghan Band, Life Expectancy, Power Pants, Yuasa-Exide, Waylon Thornton, and more. This column is only available in full to those who [subscribe](https://see-saw.fun/punk-this-week-slut-intent-national-photo-committee-6-more/#/portal/) for $4/month, $40/year, or [barter](https://see-saw.fun/bartering/) (hit me up). [Punk This Week](https://see-saw.fun/tag/punk-this-week/), [bonus podcasts](https://see-saw.fun/tag/jukebox/) (including the new [Marked Men episode of *see/saw jukebox*](https://see-saw.fun/see-saw-jukebox-08-the-marked-mens-jeff-burke-mark-ryan/)), and the full [see/saw radio archive](https://see-saw.fun/see-saw-radio/) are what’s behind the paywall. There’s free stuff, too, if you want to subscribe for free. --- **En Kernaghan Band:** [***Energetik***](https://enkernaghan.bandcamp.com/album/energetik?ref=see-saw.fun) **\[Holiday Maker\]** Ethan Kernaghan is the Brisbane-based throwback garage rock great behind the En Kernaghan Band. The band’s self-titled album from over a decade ago is a criminally undersung masterpiece, and this new one follows in its footsteps for a rock’n’roll record with tambourines, earworm melodies, and vintage country-adjacent warmth that any *Nuggets*, Ar-Kaics, Sharp Pins, or freakbeat maniac will appreciate. If you would like to be convinced, listen to “Don’t Be Scared” and then try not to listen to it 10 more times. It’s such an immaculately crafted melody, and then Kernaghan’s multi-tracked harmonies and layered guitar licks bring it to the highest level. This former Hare Krishna has lyrics on this album that search for guidance and answers, all while sounding like a lost decades-old masterpiece that smells like the best kind of record store. This is a wonderful record. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/01/a4036889977_10.jpg)](https://enkernaghan.bandcamp.com/album/energetik?ref=see-saw.fun) _This post is for paying subscribers only._ ### theee retail simps spent $13 on markers for this new song’s video URL: https://see-saw.fun/theee-retail-simps-spent-13-on-markers-for-this-new-songs-video/ Last updated: 2026-01-31T15:40:16.000Z Just when you think Theee Retail Simps got all their ya-yas out with their [sloppy tape](https://retailsimps.bandcamp.com/album/the-troggs-tapes?ref=see-saw.fun) and the [killer secret identity double album](https://theeducatedfools.bandcamp.com/album/tantric-decapitation-69-mins-of-trichotomy-and-liquefaction?ref=see-saw.fun) in 2025, they’re already back at it in early 2026\. “Quality at Your Feet” is one side of a forthcoming single due soon on the iconic 7" label Goodbye Boozy Records. You hear that? It’s Sir Bobos smashing the play button on this new hand-drawn and stop-motion video as hard as humanly possible! Find the video below via [Tremendo Garaje](https://www.instagram.com/tremendogaraje/?hl=en&ref=see-saw.fun). The song was recorded in October on 4-track by Obe. “The video was made in the 10 days leading up to Christmas by Joe on a busted up phone,” the band writes. “It took lots of hours of therapeutic drawing and cost $13 in paper and markers.” The true If you wanna go see the Simps tonight (January 31) in Montreal with Licorice, Vitamin Pink, and Offshore Grilling, go to the show at Hemisphere Gauche advertised in the flyer below. ![There can only be 1 best band in town, however APRIL WINE are no longer available, so please enjoy: Theee REtail Simps, Licorice, Vitamin Pink, and Offshore Grilling at Hemisphere Gauche, January 31](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/01/unnamed-3.jpg) ### see/saw jukebox: the marked men’s jeff burke + mark ryan URL: https://see-saw.fun/see-saw-jukebox-08-the-marked-mens-jeff-burke-mark-ryan/ Last updated: 2026-06-04T22:11:49.000Z [*see/saw jukebox*](https://see-saw.fun/tag/jukebox/)is a bonus podcast about perfect punk records from *Punk This Week* hosts Nina Corcoran and Evan Minsker. Each episode, we’re joined by special guests to curate perfect punk records for a mythical jukebox. All episodes of *see/saw jukebox* are available exclusively to [paid see/saw subscribers](https://see-saw.fun/see-saw-jukebox-07-mspaints-deedee/#/portal/) ($4/month or $40/year or [barter](https://see-saw.fun/bartering/) \+ there’s a two-week free trial). This week, we’re joined by two members of Denton garage punk greats the Marked Men: Jeff Burke (Radioactivity, Lost Balloons) and Mark Ryan (o-d-ex, Mind Spiders). What records do they add to the jukebox? Subscribe to see/saw and listen to the full episode below! _This post is for paying subscribers only._ ### get your tickets to see/saw year 2 in minneapolis URL: https://see-saw.fun/get-your-tickets-to-see-saw-year-2-in-minneapolis/ Last updated: 2026-01-28T22:56:14.000Z Last year at Eagles #34 in Minneapolis, I threw a birthday party for see/saw. It was seven bands in two rooms—a power bill. I threw two parties beforehand, too—both power bills. Sometime that week, Greer from BUIO OMEGA told me “we’ll play year 2.” A few people told me they were excited about year 2\. At some point it just seemed like a given that I’d do year 2\. Today, [tickets are on sale for year 2](https://see-sawdotfun.bandcamp.com/merch/see-saw-year-2-ticket?ref=see-saw.fun). On March 28, at the Fraternal Order of Eagles #34, you are cordially invited to see/saw year 2\. The Sleaze, Bermuda Squares, Kilynn Lunsford, Cruelster, BUIO OMEGA, TY, and T.A.C.K. are playing. [Tickets are $20 in advance](https://see-sawdotfun.bandcamp.com/merch/see-saw-year-2-ticket?ref=see-saw.fun), $25 at the door. Bands start at 7 p.m. --- Minneapolis garage punk greats **the Sleaze** are reuniting for what Conor calls “their first and only show in 13 years.” Their 7" run including “[Smokin’ Fuckin’ Cigs](https://www.youtube.com/watch?v=kaWqXFatihE&ref=see-saw.fun)” and the “Crush” b/w “PCP” 7" is quietly legendary. They put out perfect records and played unforgettable live shows. The last time I saw them was at [Total Punk’s 2013 SXSW party](https://www.youtube.com/watch?v=uyJpzjsI30U&ref=see-saw.fun). I watched a dude pour an entire beer down Conor’s buttcrack. My brother and I laughed and laughed. **Bermuda Squares** are returning in 2026, and at year 2, Tony says they’re going to play some new stuff. I love this band’s records and am excited about the prospect of the follow-up to 2024’s [*Outsider*](https://bermudasquares.bandcamp.com/album/outsider?ref=see-saw.fun). Shout out Annie and Pat and AJ, but especially Tony, who helped broker the Sleaze reunion. Here’s a pro tip from me to you: When you ask any band to reunite for your blog’s birthday party, it’s good to have Tony broker the deal. I am a huge Bermuda Squares fan and can’t wait to see them again. **BUIO OMEGA**, hardcore darlings of South Minneapolis, fucking rule. Greer is a legend. Nikki is a legend. Matt is a legend. Midge is a legend. I don’t know CC yet, but she’s a legend by association in the very least. Do you want to see a band that’ll get in your face and rip through songs from their unbelievable new 7" [*On the Prowl*](https://buioomega69.bandcamp.com/album/on-the-prowl?ref=see-saw.fun) and some other deeply good ones too? Don’t you want to stop by the merch table and get one of the puppy dog t-shirts or one of Greer’s sick pins or talk to Nikki about classic All Japan matches? All four bands coming in from out of town released some of the best punk records of 2025\. Philadelphia’s **Kilynn Lunsford** is bringing her band and gracing the Shadewald stage with songs from the unbelievable art punk opus [*Promiscuous Genes*](https://kilynnlunsford.bandcamp.com/album/promiscuous-genes?ref=see-saw.fun). This major announcement thankfully includes the news that **Cruelster** will drive over from Cleveland. [*Make Them Wonder Why*](https://convulserecords.bandcamp.com/album/make-them-wonder-why?ref=see-saw.fun)is a masterpiece and I can’t believe they agreed to this. **TY** are heading over from Detroit on the heels of their tough'n'catchy debut [*WE R TY*](https://ty4listening.bandcamp.com/album/we-r-ty?ref=see-saw.fun) and their new 7" [*Hot Wheel City*](https://ty4listening.bandcamp.com/album/hot-wheel-city?ref=see-saw.fun). When Rocco [interviewed them for see/saw](https://see-saw.fun/ty-champion-detroit-punks-hell-yeah-moment/), they talked about how much they hate Nazis. It’ll be real nice to see ’em. The New Orleans garage punk duo **T.A.C.K.** are coming up and smashing a trash can lid. Expect some two-ingredient ragers from their stellar debut, [*TACKLE*](https://tacktack.bandcamp.com/album/tackle?ref=see-saw.fun). ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/01/Letter-Poster.png) I love Minneapolis. I love going to punk shows. I love seeing my friends at punk shows. Come hang out for what promises to be a very fun night in the planet’s best city. Let’s support some artists, and definitely [support the people of Minneapolis right now whether you’re coming or not](https://see-saw.fun/punk-this-week-plant-smetti-subito/). Fuck ICE. Below find some more shows coming up. I’ll have flyers and stuff soon. --- March 6, see/saw presents Greg Wheeler & the Poly Mall Cops, Panel, Two Castles Leona’s, Eau Claire doors 8:30, bands 9, $15, 18+ --- March 18, see/saw presents TAKAAT, Censer (mem. Uranium Club, Royal Brat) SHIFT, Eau Claire doors 8:30, bands 9, $20, 18+ --- March 27, see/saw presents U.T.A.I., Heather the Jerk, PORQ, Makin’ Out NEW WORLD, Minneapolis (ask a punk) doors 7, bands 8, $15, all ages --- March 28, see/saw year 2 The Sleaze, Bermuda Squares, Kilynn Lunsford Cruelster, BUIO OMEGA, TY, T.A.C.K. Eagles #34, Minneapolis doors 6:30, bands 7, $20 adv, $25 door, 21+ ### punk this week: plant + smetti subito URL: https://see-saw.fun/punk-this-week-plant-smetti-subito/ Last updated: 2026-01-27T17:31:11.000Z [Punk This Week](https://see-saw.fun/tag/podcast/) *is see/saw’s free weekly podcast from co-hosts Evan Minsker and Nina Corcoran—a discussion of the latest and greatest in the world of punk rock. We talk about six new punk records we’re loving from the past week.* We try to open the podcast by saying “fuck ICE” in unison, which falls apart when Evan introduces the podcast as *Puck This Week*. Following a tangent about *Frasier,* “[Grunge Frasier](https://www.youtube.com/watch?v=jl1vN-3jiT4&ref=see-saw.fun),” the essential video of [Kelsey Grammer falling off the stage](https://www.youtube.com/watch?v=Eu-BqOsvj00&ref=see-saw.fun), and *Twilight Imperium*, we discuss new records by [PLANT](https://plantplantplant.bandcamp.com/album/evenimentul-major?ref=see-saw.fun), [Smetti Subito](https://frequencescritiques.bandcamp.com/album/weak-fission?ref=see-saw.fun), [Two Thumbs Down](https://twothumbsdown.bandcamp.com/album/keena?ref=see-saw.fun), [Disket](https://generalspeech.bandcamp.com/album/running-b-w-vamos-a-ganar?ref=see-saw.fun), [Hot Face](https://hotface.bandcamp.com/album/automated-response?ref=see-saw.fun), and [Tomcat](https://recklessrelease.bandcamp.com/album/rr010-n-w-o-a-h-c-demo?ref=see-saw.fun). If you can, please [donate to some Minneapolis mutual aid funds amid the occupation](https://linktr.ee/mplsmutualaid?ref=see-saw.fun). --- *Punk This Week* is a [Ruinous Media](https://www.ruinousmedia.com/?ref=see-saw.fun) podcast; thanks to Ruinous for their support. Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.funhttps://feeds.captivate.fm/punk-this-week/). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/see%5Fsaw.fun/?ref=see-saw.fun) and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). Have a question you’d like to hear addressed on the show? Want to talk about a new record we didn’t discuss? Want to send a HARD PIVOT bumper? Join us on the see/saw [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun) or email us: [see-saw@see-saw.fun](mailto:see-saw@see-saw.fun). *Punk This Week* is made possible by see/saw subscribers; please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-gylt-dbr/#/portal/) if you enjoy this podcast. You’ll learn about way more punk records than we can pack into the pod! ### punk this week: ben and the blackwell babies, smetti subito + 14 more URL: https://see-saw.fun/punk-this-week-ben-and-the-blackwell-babies-smetti-subito-14-more/ Last updated: 2026-01-24T21:28:40.000Z Hey, it’s Punk This Week. Usually, these columns about new punk records go up behind a paywall on Friday, but out of solidarity with the general strike in Minneapolis, I decided to post on Saturday instead. This morning, another observer was executed by ICE. It’s all I can think about right now. This column is free for whoever wants to read it. Subscribe to this newsletter if you want, but it’s way more urgent to go [donate to the people most impacted by the occupation](https://www.standwithminnesota.com/?ref=see-saw.fun) if you can. Fuck ICE. --- **Ben and the Blackwell Babies:** [***Ben and the Blackwell Babies***](https://benandtheblackwellbabies.bandcamp.com/album/ben-and-the-blackwell-babies?ref=see-saw.fun) **\[self-released\]** Ben Blackwell is one of the three men from Jack White’s Third Man Records. He runs Cass Records and plays in the Dirtbombs. His bonafides as a rock’n’roll historian and record collector, specifically when it comes to the city of Detroit, are well-documented. Here’s a full disclosure that I’ve had multiple conversations with Ben as a source for different pieces and he wrote a blurb for the first see/saw year-end zine. All of this preamble is here to let you know that despite any and all aesthetic associations suggesting otherwise, Ben Blackwell is none of the credited Bens from the new Detroit shit-fi band Ben and the Blackwell Babies. (Even though that’s him on the cover.) The band anonymously slid me a couple tracks from their debut three-song self-titled EP, which is sure to shred your eardrums real good. This is shit-fi blues punk where all the vocals are shrieked and unintelligible. There’s a 55-second song that’s all feedback and the Detroit ZIP code being recited gradually and repeatedly. This is Detroit rock’n’roll rendered radioactive, and who knows how the real Ben feels about these three minutes of chaos. To my ears, a song like “Grand Theft Shitbox” seems like a loving (and unhinged) homage to their namesake and the scene he’s fastidiously supported across his adult life. Detroit rock records remain my favorite genre. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/01/a2457362312_10.jpg)](https://benandtheblackwellbabies.bandcamp.com/album/ben-and-the-blackwell-babies?ref=see-saw.fun) --- **Smetti Subito:** [***Weak Fission***](https://frequencescritiques.bandcamp.com/album/weak-fission?ref=see-saw.fun) **\[fréquences critiques\]** Smetti Subito are a punk band from Paris, and this new album sounds like a fucking masterpiece to me. *Weak Fission* is scattered and completely unpredictable on some Cleveland shit. You’ll get a discernible garage punk banger (“Lock Screen”) into a 52-second rock’n’roll sprint as vocals get more rabid and guitars start noodling into chaos (“DTZ”). This is a record where feedback is always bubbling just beneath the seams of the band’s crumbling infrastructure. It’s the kind of record you could escape into like a thick inscrutable piece of literature—the kind that invites you back to consider it again and again and again. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/01/a2368836856_10.jpg)](https://frequencescritiques.bandcamp.com/album/weak-fission?ref=see-saw.fun) --- **Yuasa-Exide:** [***Silver Spoon Hallucination***](https://apesanctuary.bandcamp.com/album/silver-spoon-hallucination-2?ref=see-saw.fun) **\[self-released\]** Doug Busson’s Yuasa-Exide has released a mini-album of tracks recorded over the past four years with all proceeds going to Minneapolis Mutual Aid in the time of ICE’s occupation. That sentence makes *Silver Spoon Hallucination* sound like a hard drive dump for a crucial cause, but this one hangs with Doug’s best work over the past couple years. “My Psychic (Electric Version)” fills dude’s basement with glam swagger, and when he sings “this city is broken” on “Below Canal Street,” that shit hits real hard. Doug rules. Fuck ICE. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/01/a2438344873_10.jpg)](https://apesanctuary.bandcamp.com/album/silver-spoon-hallucination-2?ref=see-saw.fun) --- **Tomcat:** [***N.W.O.A.H.C.* *Demo***](https://recklessrelease.bandcamp.com/album/rr010-n-w-o-a-h-c-demo?ref=see-saw.fun) **\[Reckless Release\]** Holy shit. Tomcat promise “the new wave of Aus hardcore” on this five-song demo, and if this is what the future sounds like, sign me the fuck up. This is raw punk recorded to four-track with four microphones, and it sounds like being in the room with the band. The vocals are shredded and dangerous. The guitars and bass are burly as fuck. Everything in this recording seems to smudge together, so while lyrics aren’t clear, their targeted rage couldn’t be more transparent. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/01/a2477066174_10.jpg)](https://recklessrelease.bandcamp.com/album/rr010-n-w-o-a-h-c-demo?ref=see-saw.fun) --- **Game Set Match:** [***Game Set Match II***](https://gamesetmatch1.bandcamp.com/album/game-set-match-ii?ref=see-saw.fun) **\[Goodbye Boozy\]** Another record in the latest pile of Goodbye Boozy 7” releases is the latest from Sydney’s Game Set Match, a deeply underrated pop via garage punk project out of Australia right now. Both of these sides feel like vintage garage rock rendered with warmth and just enough edge. All of the Game Set Match records have been catchy treasures. The streak continues. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/01/a1513491856_10.jpg)](https://gamesetmatch1.bandcamp.com/album/game-set-match-ii?ref=see-saw.fun) --- **Hot Face:** [***Automated Response***](https://hotface.bandcamp.com/album/automated-response?ref=see-saw.fun) **\[Speedy Wunderground\]** Almost everything in the column up to this point was self-recorded with varying degrees of fidelity. Climb up out of the sewer with Hot Face, the London band who recorded their new full-length at Abbey Road’s Studio 3 with producer to the UK stars, Dan Carey. There’s still a ton of scuzz and spontaneity on this record; the band recorded the full album live in three takes. It sounds ramshackle and electric in a way that makes me sure this band stomps ass live. With the occasional fudged power chord, *Automated Response* isn’t too precious. It’s not particularly sloppy, either, which is good—the method here suits the band’s songwriting and dynamic. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/01/a2865516713_10.jpg)](https://hotface.bandcamp.com/album/automated-response?ref=see-saw.fun) --- **Disket:** [**“Running” b/w “Vamos a Ganar”**](https://generalspeech.bandcamp.com/album/running-b-w-vamos-a-ganar?ref=see-saw.fun) **\[General Speech\]** The new 7” from Disket is some absolutely stellar rock’n’roll. Featuring members of Baby Shakes, Mala Vista, and Vaxine, this is just top level execution of first wave punk rock—the era when early ’60s pop masterpiece songwriting was the aesthetic North Star behind all the tough guy shit. The A-side has stomping drums and an earworm amplified immeasurably by harmonies. When the B-side hits, it’s another anthem. What the hell! [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/01/a1004150183_10.jpg)](https://generalspeech.bandcamp.com/album/running-b-w-vamos-a-ganar?ref=see-saw.fun) --- **Dr. Dence:** [***Sick Dumb Spam***](https://doctoredtapes.bandcamp.com/album/sick-dumb-spam?ref=see-saw.fun) **\[Doctored Tapes\]** Dr. Dence is a member of Michael Younker’s band, and the new EP *Sick Dumb Spam* is fleet-footed rock’n’roll with ripping guitar leads and drum machine. There’s a tangible egginess to a song like “Don’t Know Nothing,” and lyrically, the doctor sounds like he’s on the cusp of puking on at least three songs. On the fourth, he’s eating canned bodega meat, so we all know what’s around the corner. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/01/a1176849861_10.jpg)](https://doctoredtapes.bandcamp.com/album/sick-dumb-spam?ref=see-saw.fun) --- **FORMA:** [***FORMA***](https://formabnd.bandcamp.com/album/forma?ref=see-saw.fun) **\[self-released\]** FORMA is a punk band from Bilbao, Spain that makes indie pop overlaid with a grayscale post-punk gradient. There’s a song on this album called “aspettative” that’s a perfect pop song. The build, the melody, the sweet and sour of it all? Just unbelievable work. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/01/a0639773051_10.jpg)](https://formabnd.bandcamp.com/album/forma?ref=see-saw.fun) --- **Red Shadows:** [***Ain’t Got No Time***](https://redshadowspdx.bandcamp.com/album/aint-got-no-time-ep?ref=see-saw.fun) **\[self-released\]** Following the death of guitarist Jonny Cat, the masters of a lost 2014 7” by the Portland garage punks Red Shadows resurfaced. This 7” is going to scratch a serious itch for anyone who’s loved the records of Jay Reatard’s various projects or any other wild rippers who manage to harness a sneaky pop sensibility. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/01/a2291171791_10.jpg)](https://redshadowspdx.bandcamp.com/album/aint-got-no-time-ep?ref=see-saw.fun) --- **EXS:** [***EXS***](https://theseatsofpiss.bandcamp.com/album/self-titled-tsopr-061?ref=see-saw.fun) **\[The Seats of Piss/Invisible Audio\]** The new self-titled EP from Batam, Indonesia’s EXS brings some simple yet powerful hardcore to the table. They’ve got this speedy tupa tupa beat (Medi), their vocals offer sharp and concise hollers (Farid), the bass lead on “Problems” is deeply sick (Pian), and their dual guitar approach often doubles up on power chord rhythm instead of giving someone a big flashy solo (Jefrey and Rian). This is angry music for the oppressed that sounds like it should be played and shouted by a horde, which is exactly what I’m looking for in my life at this exact moment. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/01/a3205314070_10.jpg)](https://theseatsofpiss.bandcamp.com/album/self-titled-tsopr-061?ref=see-saw.fun) --- **HUNG:** [***Suck It Up! EP***](https://closecallrecords.bandcamp.com/album/suck-it-up-e-p?ref=see-saw.fun) **\[Close Call\]** HUNG is a sick DIY punk rock band from Warsaw, one of these bands where looseness is a feature and not a flaw. The opening track “M.I.A.” is catchy and angry, and about halfway through there’s this second voice that comes in that sounds like somebody’s brat cousin grabbed the mic to start doing “nah nah nah” vocals that sound like they’re mocking the song actively being recorded. They hate Nazis and I enjoy this record. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/01/a0593470027_10.jpg)](https://closecallrecords.bandcamp.com/album/suck-it-up-e-p?ref=see-saw.fun) --- **TYLENOL:** [***KISS MY ASS***](https://tylenolnyc.bandcamp.com/album/kiss-my-ass?ref=see-saw.fun) **\[self-released\]** New York City’s TYLENOL is another band that sounds like they’re barely holding it together, and that’s thanks in large part to a vocalist who doesn’t give a fuck about where his bars should fit into the beat. This is ramshackle art punk for the intentionally seasick. Good shit. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/01/a0416258898_10.jpg)](https://tylenolnyc.bandcamp.com/album/kiss-my-ass?ref=see-saw.fun) --- **завірюга:** [***цвяхи***](https://zaviruga.bandcamp.com/album/--4?ref=see-saw.fun) **\[self-released\]** This new record from the Ukrainian punks завірюга is a bass-forward EP that feels like a meeting place between art pop and art punk. The dogs are literally barking. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/01/a3350570821_10.jpg)](https://zaviruga.bandcamp.com/album/--4?ref=see-saw.fun) --- **Attention Deficit:** [***Triple A-Side Tape***](https://attentiondeficitrock.bandcamp.com/album/triple-a-side-tape?ref=see-saw.fun) **\[self-released\]** On the triple A-side single from Montreal’s Attention Deficit, the duo of Pin Bone and Snub Nose showcase tough-as-shit yet minimalist punk rock. “Fuck your tears,” Pin Bone mutters at the conclusion of “Shoot and Cry.” [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/01/a3840428316_10.jpg)](https://attentiondeficitrock.bandcamp.com/album/triple-a-side-tape?ref=see-saw.fun) --- **A.I. Death Calculator:** [***A.I. Death Calculator***](https://dial9records.bandcamp.com/album/a-i-death-calculator?ref=see-saw.fun) **\[Dial 9\]** Florida band makes bludgeoning hardcore. Sick band name, sick record. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/01/a0525689918_10.jpg)](https://dial9records.bandcamp.com/album/a-i-death-calculator?ref=see-saw.fun) --- **What else:** [Belgrado](https://lavidaesunmus.bandcamp.com/album/el-encuentro?ref=see-saw.fun), [Winston Hightower](https://winstonhightower.bandcamp.com/album/100-acre-wood?ref=see-saw.fun), [Earth Tongue](https://earthtongue.bandcamp.com/album/dungeon-vision?ref=see-saw.fun), [Giallo](https://convulserecords.bandcamp.com/album/tenebrarum?ref=see-saw.fun), [PEARL](https://pearl-music.bandcamp.com/album/love-grief?ref=see-saw.fun), [Season 2](https://season-2.bandcamp.com/album/power-of-now-aus?ref=see-saw.fun), [Ozzie Hair](https://ozziehair.bandcamp.com/album/madhouse-2?ref=see-saw.fun), [Dead Finks](https://deadfinkera.bandcamp.com/album/new-plastik-abyss?ref=see-saw.fun), [Crache](https://howlinbananarecords.bandcamp.com/album/plein-soleil?ref=see-saw.fun), and [Dry Socket](https://drysocketpdx.bandcamp.com/album/self-defense-techniques?ref=see-saw.fun) just announced new albums. TY’s [*Hot Wheel City* EP](https://ty4listening.bandcamp.com/album/hot-wheel-city?ref=see-saw.fun) finally has a track-by-track breakdown on Bandcamp. I missed the New Year’s Eve full-length from [Celebrity Telethon](https://celebritytelethon.bandcamp.com/album/celebrity-telethon?ref=see-saw.fun) and am really enjoying that. Try some new ones by [Subtle Body](https://strangemono.bandcamp.com/album/subtle-body?ref=see-saw.fun), [Blockade](https://totalsupply.bandcamp.com/album/tsr-027-where-we-stand?ref=see-saw.fun), [RRSATZ](https://fuzzywarbles.bandcamp.com/album/here-4-the-endless-plague-fw62?ref=see-saw.fun), [Regulator, Crying Form](https://drunkenbutterflyrecords.bandcamp.com/album/regulator-crying-form-split?ref=see-saw.fun), [Rocky & the Sweden](https://rockyandtheswedenjp.bandcamp.com/album/punks-pot-head?ref=see-saw.fun), [winky frown](https://winkyfrown.bandcamp.com/album/iv?ref=see-saw.fun), [X-Force](https://xforce.bandcamp.com/album/demo?ref=see-saw.fun), [Mr. Radical](https://mrradicalhardcorepunkoc.bandcamp.com/album/promo?ref=see-saw.fun), [Bilge](https://bilgehc.bandcamp.com/album/hard-core-demo?ref=see-saw.fun), [TAKER](https://taker-oi.bandcamp.com/album/sons-and-daughters?ref=see-saw.fun), [Dead Drugs](https://deaddrugs.bandcamp.com/album/hate-bomb-ep?ref=see-saw.fun), [Sunny Bear Forest](https://sunnybearforest.bandcamp.com/album/back-forth?ref=see-saw.fun), [BALACLAVA](https://balaclavanyc.bandcamp.com/track/dramatic-exit?ref=see-saw.fun), [the Good News Dudes](https://idiotaperecords.bandcamp.com/album/the-good-news-dudes?ref=see-saw.fun), [Sargent Baker](https://sargentbaker.bandcamp.com/album/loose-ends-2?ref=see-saw.fun), [Hot Garbage](https://hotgarbagemusic.bandcamp.com/track/wewu?ref=see-saw.fun), [Stepmother](https://stepmother1.bandcamp.com/track/new-world?ref=see-saw.fun), [Gut Bugs](https://gutbugs.bandcamp.com/album/s-t?ref=see-saw.fun), [GEGNER](https://petank-recordz.bandcamp.com/album/gegner-bisschen-sauer-ep?ref=see-saw.fun), [Ø](https://zeroprojectzero.bandcamp.com/album/stage-i?ref=see-saw.fun), [Oron](http://oron2.bandcamp.com/album/the-ones-who-got-away?ref=see-saw.fun), [Goose Eggs](https://supdogrecords.bandcamp.com/track/the-whistleblower-i-never-told-you-anything-you-didnt-already-know?ref=see-saw.fun), [L.A. Sagne](https://geertruida.bandcamp.com/album/rampage?ref=see-saw.fun), and [bloody head](https://bloodyhead.bandcamp.com/album/bend-down-and-kiss-the-ground?ref=see-saw.fun). ### paper jam on texas pop and their tweeroes URL: https://see-saw.fun/paper-jam-on-texas-pop-and-their-tweeroes/ Last updated: 2026-01-21T17:32:08.000Z Lately, it feels like everyone (and by everyone, I mean all of my heady college radio peers) is talking about the precocious musicians proliferating the Midwest’s young pop punk scene. And it’s for good reason, too. But as some critics have deemed power pop finally saved, or just now hitting its 21st century stride, acts like the Denton-based [Paper Jam](https://paperjammusic.bandcamp.com/?ref=see-saw.fun)—with their jangly love-crush anthems, addictive hooks and smart, earworm-forward songwriting—know that, in Denton at least, the scene is at its best when those from afar don’t quite know what’s totally going on. Alas, the twentysomethings are getting along just fine, even outside Chicago. Paper Jam self-released its debut album, [*This and That*](https://paperjammusic.bandcamp.com/album/this-and-that?ref=see-saw.fun)*,* in June. It made its whimsical entrance by way of sing-alongs, pastel paintings (“[Polka dot girl](https://paperjammusic.bandcamp.com/track/polka-dot-girl-2?ref=see-saw.fun) bring back color to the world/Day to day there’s no fun in feeling grey”), and Natalie Hanne Winkler and Cecilia Case-Hernandez’s sugary-sweet vocals. The album was recorded as a five-piece: Winkler on vocals and guitar, Case-Hernandez on bass and vocals, Mason Blair on guitar, Natalia De la Cruz on keys, and Taylor Rivers on drums. Paper Jam has since embarked on two tours across Texas and the Midwest. *This and That* doesn’t so much as sound like Paper Jam’s first go at demo making as it does an intrepid, colorful strut into a scene where virtually no other act was making similar-sounding music (Denton’s DIY scene is largely hardcore), nor did anyone know who they were. Well, except for this one guy, who, mid-interview, walked by us and hollered something about Paper Jam single-handedly carrying out the pop tradition in Texas’ small towns. The band has no idea who is listening and doesn’t really care, anyway. Perhaps that’s why they sound so good. During the interview, four out of the five Paper Jam members (Winkler, Case-Hernandez, De la Cruz, and Rivers) and I huddled outside Austin’s Chess Club during Red River’s Free Week in what you could ostensibly call the middle of winter. It’s Central Texas, so that means, at best, solid sweater weather. We’re standing on the street outside of the venue because, embarrassingly, I’m unsure if I’ll be able to sneak myself into the 21+ show. But for tonight, Winkler decided to make me a member of the band, allowing me to worm my way into a space that was at least 50 people over a fire-safe capacity. --- **How did Paper Jam start?** Natalie (vocals, guitar): Natalia and I wanted to do something creative together. We had been friends for a while, and we were both very into music. We had the idea to start an all-girl band, and although I had been in a band before, I wanted to explore a different genre and do something that felt more authentic to me. We had all been friends for a long time since forming a band; we are all from towns around DFW and grew up together. Denton is the closest music scene to all of us, and I also live there now. Cece moved there after leaving New York, which is why I asked her to be our bassist, and we started after that. **What kind of music were you making before?** Natalie: Mostly noise stuff. I wasn’t really singing at all in that first band. It was my very first venture into writing and being a vocalist, and at the time, I didn’t really think I could sing. I was chanting a lot, and I felt like my writing wasn’t very strong. Overall, I just wasn’t confident. It took a while to find my thing with this new band and figure out how I like to sing and write. **How did you get into jangle pop? I feel like bands of the genre are few and far between in Texas.** Natalie: For me, I was introduced to it in my first band, but we weren’t really following it with our writing. But I really, really liked it. I think I navigated to it the most because there’s more emphasis on the female vocal, which I resonated with. It’s more melodic and singy. What I was doing before was not at all. Natalia (keys, tambourine): \[Natalie\] definitely put me on. First listening to Talulah Gosh and Dolly Mixture was, like, everything. Cecilia (bass, vocals): When I was younger, I was more into classic punk, which I still love. But having that emphasis on female vocals was very important to me. But it is also important that we are still sort of punk. Natalie: \[Paper Jam\] is a combo of what we love most out of both genres. It’s DIY, too, which made everything feel achievable for us. **Can you guys tell me about making the album? What was the writing process like?** Taylor (drums): Natalie wrote most of the songs. She would come to us with the lyrics and melodies, and then it’s up to us to add our parts and make it a complete song. Natalie: We’ve been asked this question a lot, and I’m still trying to figure out how to make it into complete words. Taylor: We get asked this all the time. In all of the interviews. All of our interviews out there. Natalie: OK, OK, from our friends. Our friends will ask us sometimes. But I think what’s really important about a song to me, or what I love about music, is lyricism. Chord progressions can be cool, and melody is really important, but the lyrics and the story someone is telling are what’s most important to me. As we’ve gone on, Cece has gotten into a similar way of writing, too, and so we’re sort of an evolving process. Cecilia: I totally agree. We are so much better now at writing songs. It really helps that we are all friends and have been for so long. **The production on the album is incredible. Who knows how to engineer and produce?** Natalie: It makes it really convenient that we have engineers in the band who have recording gear and whatnot. Taylor recorded it, and it was mixed and mastered by Taylor and Mason. We had all the equipment already. **I’m curious to know how your first tour went this summer. I saw that you guys went to the Midwest and played on bills with Good Flying Birds and National Photo Committee.** Cecilia: I mean, the Midwest is cool because there’s not really a scene to that extent in Texas where they’re all playing somewhat similar music. There’s definitely more coming up. So it was cool to see. Natalie: We sort of got that experience with Touch Girl Apple Blossom and some other Austin bands, so I think the Austin scene can be a bit similar to the Midwest in ways that it’s young and DIY. But yeah, this summer, we played with Good Flying Birds under their original name, Talulah God. It was so cool because, personally, I was already a huge fan of their music, and I think we all learned a lot from them and their experience, having recently signed to Carpark and being in such a cool community where everyone is supportive and is constantly sharing their wisdom. I’ve only played with the National Photo Committee before, and I was actually living with Max, the guitarist and lead vocalist, then. I learned so much about that—what do they call it—the youth rock scene up there. But I definitely think it exists elsewhere, if not to the same extent, in places like New York and Austin. It’s coming down here. Cecilia: In Denton, we are usually playing on a bill with a bunch of screamo bands. Natalie: But it’s so fun! After we play, and it’s three other screamo bands and just us, the crowd gets so into it. They go from moshing and hitting each other to jumping up and down and dancing. They will come up to us and be like, ‘Oh my god, that was so fun, I’ve never heard something like that before.’ Cecilia: Yeah, we love Denton. Natalie: It’s extremely supportive. Everyone in Denton is lovely. Cecilia: There’s a lot of tweemo happening in Denton, too. Like hardcore but cute. Natalie: Tweemo! There’s definitely a lot of tweemo. The cuteness is taking over. Cecilia: I think this time next year, it’ll get cuter. ![Paper Jam outside the Chess Club, photo by Daniel Powell](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/01/Group-photo-outside-of-chess-club-Photo-taken-by-Daniel-Powell.jpeg) Paper Jam outside the Chess Club, photo by Daniel Powell **Any tour must-haves?** Cecilia: Well, we love to talk DIY, but we are really freaking DIY. I mean, of course, we all have no money. The five of us piled into one SUV with all of our gear. Honestly, we have so much gear I’m not sure how we did it. **I love watching bands figure out the gear stacking game.** Cecilia: But we did it! It was definitely Tetris. We took a lot of before pictures to get it right when we had to load up afterward. We also encountered an oil issue sometime during that tour. Shout out to the Jiffy Lube south of Illinois. Natalie: If you’re reading this—and I’m sure they all are—absolutely incredible service. Beautiful people. I can’t remember the name of that town in Illinois with that Jiffy Lube. Okay, anyways, what is a must-have for us? Cecilia: Pillow and a blanket. Oh, and fiber pills! Natalia: Oh my god, yeah. Fiber pills. Taylor? Any must-haves? Taylor: Um, love. **Who are your pop heroes?** Cecilia: Who are our twee heroes? Our tweeroes? **Tweeroes! I think we may have just started something there. Tell the zines…** Cecilia: Hah. Mine are just the classics, Dolly Mixtures and Talulah. But I’m also a mainstream classic pop girl, so I’m going to have to shout out Ariana and Beyoncé. And I’m not even joking at all. Natalie: Definitely Dolly Mixture, they are huge for me. The Pastels are another big influence, and I know if Mason were here, he’d also say that, as well as Big Star and the Beatles. Cecilia: Yes, the Beatles. Our twee heroes, the Beatles! Natalia: I would say Dolly Mixture, Would-Be-Goods, Beyoncé, and I love Daryl Hall and John Oates—I just think they’re awesome. Also, any ‘80s New Wave. I’ve been really into that recently. Taylor: She’s not twee at all, but my pop hero is Hannah Diamond. --- *see/saw is a reader-supported publication. If you enjoyed this article, please share and* [*subscribe to the newsletter*](https://see-saw.fun/#/portal/)*.* ### punk this week podcast: gylt + dbr URL: https://see-saw.fun/punk-this-week-podcast-gylt-dbr/ Last updated: 2026-01-25T22:14:04.000Z [Punk This Week](https://see-saw.fun/tag/podcast/) *is see/saw’s free weekly podcast from co-hosts Evan Minsker and Nina Corcoran—a discussion of the latest and greatest in the world of punk rock. We talk about six new punk records we’re loving from the past week.* As of this moment, our podcast has joined [Ruinous Media](https://www.ruinousmedia.com/?ref=see-saw.fun)! We get a check-in from our new pod father Joe Plummer ([*Tour Stories*, *The Check-In*](https://www.ruinousmedia.com/tourstories?ref=see-saw.fun)) before we even had a chance to sweep up all the crumbs from our conversation about Wheatsville popcorn tofu, Jet’s turbo crust, and Cel-Ray. Discussed this week are excellent new records from [DBR](https://diedbrdie.bandcamp.com/album/unbearable?ref=see-saw.fun), [Gylt](https://gylt.bandcamp.com/album/in-1000-agonies-i-exist?ref=see-saw.fun), [Teini-Pää](https://teinipaa.bandcamp.com/track/oisin-halunnut-kertoo-siit-sulle?ref=see-saw.fun), [Rifle](https://rifleldn.bandcamp.com/album/rifle?ref=see-saw.fun), [Poor Girl](https://poorgirl.bandcamp.com/album/poor-girl-ep-2?ref=see-saw.fun), and [Fuckin’ Warheads](https://hardcoreheadache.bandcamp.com/album/fuckin-warheads?ref=see-saw.fun). --- *Punk This Week* is a [Ruinous Media](https://www.ruinousmedia.com/?ref=see-saw.fun) podcast; thanks to Ruinous for their support. Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.funhttps://feeds.captivate.fm/punk-this-week/). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/see%5Fsaw.fun/?ref=see-saw.fun) and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). Have a question you’d like to hear addressed on the show? Want to talk about a new record we didn’t discuss? Want to send a HARD PIVOT bumper? Join us on the see/saw [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun) or email us: [see-saw@see-saw.fun](mailto:see-saw@see-saw.fun). *Punk This Week* is made possible by see/saw subscribers; please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-winged-wheel-bungee-jumpers/#/portal/) if you enjoy this podcast. You’ll learn about way more punk records than we can pack into the pod! ### punk this week: institute, station model violence, rifle, gylt + more URL: https://see-saw.fun/punk-this-week-institute-station-model-violence-rifle-gylt-more/ Last updated: 2026-01-16T19:51:07.000Z Hey, it’s [Punk This Week](https://see-saw.fun/punk-this-week-podcast-slut-intent-fog-lamp/). Every Friday on see/saw, I round up the best new punk and rock’n’roll records. So many incredible forthcoming albums were announced with stellar lead singles this week. I wrote about a few of those, plus several full-lengths that seem to fit this horrifying moment in history. This column is only available in full to those who [subscribe](https://see-saw.fun/punk-this-week-slut-intent-national-photo-committee-6-more/#/portal/) for $4/month, $40/year, or [barter](https://see-saw.fun/bartering/) (hit me up). [Punk This Week](https://see-saw.fun/tag/punk-this-week/), [bonus podcasts](https://see-saw.fun/tag/jukebox/), and the full [see/saw radio archive](https://see-saw.fun/see-saw-radio/) are what’s behind the paywall. There’s free stuff, too, if you want to subscribe for free. --- **Institute: “**[**The Shooter**](https://institute.bandcamp.com/track/the-shooter?ref=see-saw.fun)**” \[Anti Fade\]** At the time, I was surprised that Institute’s 2023 album *Ragdoll Dance* didn’t seem to make a substantial impact on the world of music criticism. The Texas band always hits, and that was a great one. In anticipation of their forthcoming Australian tour, the band is putting out a 7” that opens with “The Shooter” and reasserts their dominance. This is melodic anarcho where a melancholic guitar intro gives way to a rumbling and more aggro approach during the chorus. “Where’s the evidence for your armed good guy,” Moses Brown questions, seeming to gesture to the countless bodies left in the wake of the “guns save lives” fallacy. This is the correct band to encapsulate the hopelessness and rage that knot together when another mass shooting happens or when ICE straight up murders an observer in the streets. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/01/a3708144523_10.jpg)](https://institute.bandcamp.com/track/the-shooter?ref=see-saw.fun) _This post is for paying subscribers only._ ### hardcore lives on in athens, georgia URL: https://see-saw.fun/hardcore-lives-on-in-athens-georgia/ Last updated: 2026-01-14T15:26:55.000Z ![Athens is college town east of Atlanta that’s known for spawning R.E.M. and the B-52s. This town has been an incubator for DIY spaces and great punk and hardcore outfits, both fleeting or long-lasting.](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/01/Athens_Page01_Panel01.jpg) ![It’s tempting to say the music scene, specifically in the punk/hardcore circle, gets kind of samey, but it’s never all the same. While many bands share some of the same members, each group it putting their own spin. There’s experimentation. Those booking shows are looking out at other scenes, seeing whose doing what, and finally bringing in more out-of-town bands to the bills. Information keeps getting exchanged. ](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/01/Athens_Page01_Panel02.jpg) ![Who’s running the scene today, you might ask? Bookings, recordings, those making it happen right now in Athens include H.A.R.D. T.A.C.K., Dosed By An Angel, Most Known Unknown, Indecent Artistry, Attaboy](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/01/Athens_Page01_Panel03.jpg) ![Phelan la Velle, our local yoga-guru, dead-head, and all around baddie is reviving an old townie’s dream which is free Sunday night shows at Hi-Lo Lounge. She’s in it, she knows whose doing what, and she’s getting them together for things like “Chronic Weekend” during 4/20, and putting together cool shows at other venues under the name “Dosed By An Angel.” Back in the day, Phelan’s early projects included the band Shade and organizing “Chillithfair” for a few years in a row at the now deceased Go Bar. ](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/01/Athens_Page01_Panel04.jpg) ![With Phelan’s powers combined with the H.A.R.D.T.A.C.K. kids, and the broader sphere or Athens-Clarke County (ACC) Hardcore there are more house shows and art parties than I remember after recently returning to the Athens scene. There’s Bruisefest, and “Shit Fest” to oppose the town’s annual AthFest. ](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/01/Athens_Page01_Panel05.jpg) ![If you’re so inclined it’s not hard to find a stage to play on, and the people booking shows aren’t hard to meet. The people here genuinely love music. If you play music and you should find yourself traveling through the south, Athens is a destination. Here, you can try it all…if you can find a drummer.](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/01/Athens_Page01_Panel06.jpg) ![Bruisefest III was taking place at Hi-Lo on the coldest Sunday evening Georgia’s experienced all year. All the little punks are bundled up and blasting cigs outside. The house music inside is as loud as the bands, so you can either go deaf or join the frigid smoke circle between sets. I was fortunate to catch Mr [Redacted], Regulator, and Trepid out of the five bands playing. I’d seen the latter two before during a previous Bruisefest and Shit Fest show, but this was my first time seeing Mr [Redacted]. ](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/01/Athens_Page02_Panel01.jpg) ![This band is fast, fun, and loud. They can really shred (despite some technical difficulties), and they are the kind of band I want to see in a basement. ](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/01/Athens_Page02_Panel02.jpg) ![Regulator is a must-see act. I’m not sure what else to describe them as, but they are taking the lead in being one of the best Black punk outfits I’ve seen. As diverse as the south is, I want more diversity in the punk scene down here. ](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/01/Athens_Page02_Panel03.jpg) ![Trepid rules. They’re always a closer. They have honest and emotional lyrics with early 200s heaviness. This night, they played some new songs, and I can’t wait to hear more. ](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/01/Athens_Page02_Panel04.jpg) ![From the perspective of a returning Athenian who loves a good punk show, it I feels good to see that the scene continues to remake itself. Athens will always be that little guitar town down south where punks are always welcome. ](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/01/Athens_Page02_Panel05.jpg) ![ ________ Other Athens favorites, both past and present, that weren’t mentioned previously include: Pylon Reenactment Society, Cinemechanica, Muuy Biien, BAMBARA, Coma Therapy, Centipede, Fatal Error, Derby, Telemarked, Snuki, Johnny Falloon, Crying Form, Bayou Princess, Peter and the Skeeters, Obscurity, and Violent Violet There’s a lot more, almost too many to keep track of, and that’s one of those good kinda problems. ](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/01/Athens_Page02_Panel06.jpg) --- [*Abby Kacen*](https://mildpain.art/?ref=see-saw.fun) *is a DIY cartoonist and zinester who loves punk. Creator of the fictional comic band,* [*Sid & the Sickos*](https://mildpain.bigcartel.com/product/we-are-the-sickos?ref=see-saw.fun)*. When she isn’t drawing, she’s at a show collecting more material.* ### punk this week podcast: winged wheel + bungee jumpers URL: https://see-saw.fun/punk-this-week-podcast-winged-wheel-bungee-jumpers/ Last updated: 2026-01-13T16:37:41.000Z [Punk This Week](https://see-saw.fun/tag/podcast/) *is see/saw’s free weekly podcast from co-hosts Evan Minsker and Nina Corcoran—a discussion of the latest and greatest in the world of punk rock. We talk about six new punk records we’re loving from the past week.* Your hosts discuss being persuaded by bakery case cookies and cupcakes based on vibrant frosting color. Will we chomp into a dry disappointment or feel like a sweet little prince? We’re also talkin’ root beer floats and the lost secret to growing mint. The new year rolls on with great new records by [Winged Wheel](https://wingedwheel.bandcamp.com/album/desert-so-green?ref=see-saw.fun), [Bungee Jumpers](https://giantbeat.bandcamp.com/album/not-today?ref=see-saw.fun), [Six Going on Seven](https://sixgoingonseven.bandcamp.com/album/human-tears?ref=see-saw.fun), [Doe St](https://doest.bandcamp.com/album/same-day?ref=see-saw.fun), [Ritual Disorder](https://ritualdisorder.bandcamp.com/track/the-fade-the-pull?ref=see-saw.fun), and [mangled](https://mangledpa.bandcamp.com/album/bean-demon?ref=see-saw.fun). Fuck ICE. --- Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.fun). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/see%5Fsaw.fun/?ref=see-saw.fun) and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). Have a question you’d like to hear addressed on the show? Want to talk about a new record we didn’t discuss? Want to send a HARD PIVOT or NO AMERICANS bumper? Join us on the see/saw [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun) or email us: [see-saw@see-saw.fun](mailto:see-saw@see-saw.fun). *Punk This Week* is made possible by see/saw subscribers; please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-slut-intent-fog-lamp/#/portal/) if you enjoy this podcast. You’ll learn about way more punk records than we can pack into the pod! ### national photo committee want to do this interview right now URL: https://see-saw.fun/national-photo-committee-want-to-do-this-interview-right-now/ Last updated: 2026-01-12T19:39:04.000Z On the last night of the year, [National Photo Committee](https://nationalpc.bandcamp.com/?ref=see-saw.fun) dropped a surprise album—the first look at *Red Hot Photo Committee*,their long-anticipated LP. For one glorious week, the album could be heard as an unmastered YouTube video, but it was already a fully realized product filled with DIY gusto, deep dulcet vocals, and pedal steel twang. The link has since been removed in anticipation of an upcoming physical release, but the Committee will be with you again shortly. “It was totally spontaneous. I was just like, *I need a little bit of attention*,” said frontman Maxwell Bottner two days after the release. “I remembered that there’s no consequences at all to me just putting it out because it had been an unlisted YouTube video link for a while, and I was just sending it to anyone who wanted to hear it. Probably 50 people have heard it at this point, so I might as well drop it.” All impressive musicians on their own, the self-described “interesting rock” quartet made up of Bottner, Henry Moskal, Will Carr, and Jason Shapiro is one of Chicago’s best live acts. They’ve impressed at shows with Pardoner, Hotline TNT, and Sharp Pins—plus a festival highlight with their final day performance at [NYC’s Bread and Roses](https://see-saw.fun/nycs-bread-roses-fest-was-a-diy-utopia/). With an album that captures their on-stage chemistry, the world will know what makes NPC a Windy City staple. When Bottner was approached about this interview, he insisted we speak just hours later. --- ![National Photo Committee, photo courtesy the artists](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/01/IMG_8026.jpeg) National Photo Committee, photo courtesy the artists **This is the first ever interview I’ve done the same day that I’ve asked.** I just thought that would be fun to do it day of. I feel the momentum. I just gotta keep it going. **I listened to it yesterday while cleaning my apartment, but what do you think is the ideal listening situation for Red Hot Photo Committee?** Maybe you’re in an escape room and you can’t quite figure it out yet. It’s something you put on, and then the way out will reveal itself. Or, I think it’s a good commuter album as well. I listened to it on an airplane recently, and that was a good experience ’cause it was also the first time I’ve used AirPods. So it felt like I was hearing it for the first time, which was nice ’cause I had been hearing it too much at that point. **How long had you been sitting on it?** I finished it around the end of November. But it had been almost done for a crazy long time. And the song cycle itself started quite some time ago. The second track on the album, “If I Wait,” I started writing in like 2021 or something. The first time we ever played that song was our first show after our COVID hiatus. I almost didn’t put it on the album ’cause it felt dated to me just in terms of, I don’t know, you inevitably progress a lot as a writer over the course of four years. But some people I trust convinced me to keep it. **What was the writing process behind the songs to get them to this point?** I write songs really slowly sometimes, and then I write some very spontaneously, and everything comes together immediately. I had this job at a Catholic school for the last four and a half years where I had an unpaid two and a half hour break in the middle of my day, so most days I would sit in Lincoln Park and try to write something. A lot of the songs here started on acoustic guitar, and a lot of the time, stuff that I was writing in the park ended up becoming album lyrics. I try to write standalone lines whenever I think of them, and then I have just a long Notes App note in my phone where they all live, and what I do is try to make connections between the lines I wrote. And then from there, I edit until meaning arises. Track seven, “Adelaide,” came about because I had four or so lines, and I essentially filled in the blanks. **The first release you put out was in 2021,** [***Songs About Sticks and Rocks***](https://nationalpc.bandcamp.com/album/songs-about-sticks-and-rocks?ref=see-saw.fun)**. Was that a COVID project?** Yeah, just the four songs. But it was really weird since National Photo Committee has been a band since I was 20 years old, and we played our first show a day or so after my 21st birthday. I started the band with the intention of *this is not a solo project, this is gonna be a very collaborative band*, and then it very quickly was like, *this is not gonna go anywhere unless I come into practice with some complete songs.* We played four or five extremely short sets that year, and then COVID happened. I just was like, I have to make music right now. So I recorded all that stuff by myself around May 2020\. And then, way later, Jason \[Shapiro\] recorded some guitar leads on two songs. But yeah, that was a solo jaunt out of necessity. **Since then, would you say you’ve tried to make it more of a multi-person thing again?** Yeah, as soon as we were able to play shows again, my goal was to record a whole album as a full band. We had a few friends drift in and out of the band, but then we locked in as a three-piece in 2022\. Did a couple short tours with that lineup and recorded some stuff that has never seen the light of day. And then later that year, Henry \[Moskal\] joined on pedal steel. My friend Leroy played drums with us as well when Jason stepped out of the band for a bit, and he plays on half of the album. It wouldn’t have happened without everyone that’s involved. **Did Henry come into the band already playing pedal steel?** It’s very funny to me because I thought that too when we started playing with Henry on steel. But then, seemingly out of nowhere, all of these rock bands started adding pedal steel players to their lineups. I learned about MJ Lenderman and Wednesday, and all those North Carolina bands, like right after that. I met Henry through my friend Molly, who grew up with him; I think we got to talking about Jerry Garcia starting New Riders of the Purple Sage just to play pedal steel. And then Henry was like, “Oh yeah, I actually just got a pedal steel and just started learning how to play it.” I don’t think he had even been playing pedal steel for a whole year at that point. Shortly after that conversation, we met up to jam, and I was just like, “This guy’s got it.” He’s so good. It’s crazy how a handful of the songs on the album were written before he was in the band, and now I can’t imagine them without him playing on them. **Did you end up doing the live-type recording for this album?** Pretty much. I recorded it all on my Tascam 488 8-track, which is an awesome machine. The big downside to using that, though, is that you can only record four tracks at a time. So the way that we would record was we would do guitar, bass, and then all the drum mics going into an eight-channel mixer, which I routed to the other two tracks, panned left and right. Henry’s parts were overdubbed later. But it feels and sounds like it’s recorded live ’cause the guitar, drums, and bass are all together. I think that my insistence on doing it in this very specific way drew the whole process out way longer than it needed to be. But I’m happy with how it sounded. I did what I set out to do. I did kind of rush it at the end, though. I brought my 488 to my friend Brooks’ studio, called West Town Magnetic. They have way better monitors and microphones, so we mixed it to ¼ inch tape and recorded some overdubs. I needed to do everything in a session or two, or else it was never gonna get done. I would’ve just kept tweaking it forever. **Do you have any further release plans for this album?** Yeah, one of the best labels in the world is putting it out. I’m very excited. I plan on mastering it through this place in NYC that can do a fully analog vinyl master, which is cool. Hopefully, we’ll have a preorder up in the very near future. Mastering for vinyl was a concern that a few labels I talked to had, since there’s a few really long tracks on the album, but I was thinking about Miles Davis’s *Get Up With It* record, which has two tracks that are over 30 minutes, and it sounds great on vinyl! And I imagine that mastering technology has only improved since then. So we’re not worried about that anymore. **Not being afraid to go long is actually one of the things that I appreciate about your band. Does that just come naturally, or is every single thing written down?** It’s a planned thing in the way that I sometimes write sections of songs that can be stretched out indefinitely. I mean, the last song on the first EP we put out, “[Hand in Mud](https://nationalpc.bandcamp.com/track/hand-in-mud?ref=see-saw.fun),” it’s weird listening back to the early recordings of that because it just feels like a different song. After playing it live for a long time, we started really stretching that song out. We put out a live tape a few years ago, and I think it’s 10 minutes on that tape. Jason had the idea to add in a long pause, which we would also stretch out for an indefinite length of time. **You make them think the song is over.** Yeah. It’s fun to do that. I like writing things that are hypnotic. **On the new album, there are also points where you take longer songs to the next level, like on “Adelaide” when the saxophone comes in.** Yeah, that song, I’m pretty happy with how that came out. [Curt Oren](https://curtoren.bandcamp.com/music?ref=see-saw.fun) is a beast on the sax. The song nearly overstays its welcome, but on purpose. Then it gets to that last part with the saxophone outro, and by the end of it, you’re kinda like, *Damn, I could have listened to that for longer*. It’s a good feeling. One thing I’ve learned from obsessively listening to Red House Painters and Sun Kil Moon is how to squeeze every ounce of juice from a single guitar riff. That guy, despite everything, is very good at writing riffs that you can play for four minutes straight. **Where do your more folk/country influences come from?** I don’t intentionally write in a country way very often. Like, I don’t think we even have any songs that are swung. I almost had the song “Two Ton Grape” be swung, and then I decided it would sound better straight. It’s more folk rock than country, I guess. It’s just like, when you have a pedal steel guitar on a track, it immediately sounds country, and that’s fine. But I like country music a lot, and I would love to be like a 10th of the songwriters that Eddie Noack or Blaze Foley and Townes Van Zandt are. Definitely major influences, lyrically. Michael Hurley, too. But yeah, I think that maybe it’s just the pedal steel and having like a lower register voice. **I also think you have a bit of a Calvin Johnson-ness to your voice.** Totally. I don’t try to do that. Not now, but when I was first starting to write songs, I was majorly trying to emulate Beat Happening because I didn’t know how to play guitar or anything, but I knew that I wanted to make music. That’s the band to aspire to when you don’t know how to do anything. And it worked pretty well. Definitely wouldn’t be writing songs if not for being obsessed with Beat Happening as a teenager. **The actual genre you refer to yourselves as is “interesting rock.” Where’d that come from?** I think Jason came up with that. It was just a joke to us when we were on tour and people would ask us what our band sounded like. We would just be like, “It’s interesting rock.” Saying that really confidently was funny to us, like we invented a brand new genre. **How did people react?** People love that shit. They can’t get enough. And I do think that it’s catching on a bit. I heard Jane from Garden of Love describe her band as interesting rock to people. We were joking about Bread and Roses being the interesting rock summit. And you can’t say that it wasn’t! **And I love that word, “interesting,” because it can be interpreted as, interesting is a good thing. But it’s also like when you show your parents and you’re like, “Look, mom and dad, I made music.” And they go, “Oh, honey, it’s interesting.”** You got it. You hit the nail on the head. **What was the reception for the album so far? It’s only been like two days, but...** It’s only been two days, but it’s been really good. It’s crazy to sit on a group of eight songs for this long, ’cause you start going crazy, like, *Damn, am I good or bad at this? I don’t know.* But yeah, positive reception on recorded music hits way different than when you play a show, and people come up to you and say, “That was dope. That rocked.” Because that’s what you’re supposed to say to people who just played a show, even if it’s sincere. But yeah, it definitely has been very validating to see people enjoying it. Makes me happy. **Nicer to hear it from someone sober.** I needed the validation. I was getting disillusioned with songwriting. I was like: *If I don’t drop this right now, I’m gonna never make music again.* **What’s up in Chicago right now? How’s the scene doing?** Chicago’s awesome music-wise right now. It’s always been great, but I feel like immediately post-pandemic, I was kinda like, not so sure what was going on with the punk scene here, but it’s just tons of cool shit happening all the time now. I think because of the influx of young people and people that are kinda new to the scene, people aren’t as stuck up as they used to be. It used to be like, if you were dancing crazy at a show, you’d stick out a lot. Chicago had a crazy bad reputation among touring hardcore punk bands from out of town for being stuck up as fuck for a long time, and I feel like we’re finally getting past that. And it’s funny how much music journalism coverage there is about Chicago right now. There’s a new thinkpiece about “the Hallogallo scene” every few months, and it’s obvious from the way those articles are written that mainstream music writers are very out of touch with the way that local music scenes actually work. Journalists need to chill about that. Everyone is constantly looking for the next savior of rock'n'roll, and it’s like, rock has kinda been back for a while, man. But also, all my young heads are doing awesome shit. There’s just a lot of cool, interesting bands popping up right now. Like, there’s this really good two-piece called Instrument. Best two-piece since Lightning Bolt. And [Bungee Jumpers](https://giantbeat.bandcamp.com/album/not-today?ref=see-saw.fun) is the best straight-ahead punk band I’ve heard in years. And as you know, [Jason Shapiro](https://jasonrshapiro.bandcamp.com/album/j-r-s-feb-25-mix?ref=see-saw.fun), who plays drums in NPC writes the funniest songs I’ve ever heard. Will and Henry are phenomenal songwriters, too, which maybe you didn’t know. I’m proud that these people are my friends; if I didn’t know them I would probably be an annoying fanboy to them. I definitely come from the hardcore punk kind of world, and that’s like how I know most of the people that I know music-wise. But it’s weird because there’s very little of that in Chicago right now. Every time a hardcore punk band comes to town, there’s just like two or three local bands that would make sense to play those shows. Shout out [Navaja](https://upsetconditiontapes.bandcamp.com/album/demostraci-n?ref=see-saw.fun) and [Mock Execution](https://mockexecutionpunk.bandcamp.com/album/killed-by-mock-execution?ref=see-saw.fun). But there’s a lot of like weird indie music happening in Chicago, and it’s really dope ’cause it just felt like I wasn’t aware of that kinda stuff when I was younger and playing in an indie rock band, and now there’s so much, it’s awesome. Shout out to [Hunting Scene](https://grouseeditions.bandcamp.com/album/hunting-scene?ref=see-saw.fun), Kitship, and [Memory Card](https://memorycard.bandcamp.com/album/1000-dollar-press-kit?ref=see-saw.fun), too. **It goes back and forth. Today it’s pop, but soon people will go crazy for hardcore again.** Yeah, I definitely am looking forward to playing in a hardcore band again. Until recently, I was drumming in this hardcore band called [Double Over](https://doubleover.bandcamp.com/album/demo?ref=see-saw.fun). We pretty much finished an EP, and we just need to put the finishing touches on it, and we’ll put that out soon as well. **Are you playing with anyone else right now?** I play drums in this band called [Alive Girl](https://aliivegiirl.bandcamp.com/album/pegasus-ep?ref=see-saw.fun). We’re working on new music now. It’s cool and weird, like if the Sugarcubes were a fucked up prog rock band with an SP-404\. I’ve played bass in this hardcore punk band called [Sniper Culture](https://11pmrecords.bandcamp.com/album/combat-rock?ref=see-saw.fun) since 2018, we had a reunion show last year and I think we’ll make a new record in 2026 and hopefully play some more shows. Oh, and I think I’m gonna play bass in the band [Bullseye](https://bullseye2.bandcamp.com/album/feb-25-tour-tape?ref=see-saw.fun) for the tour they have coming up. **What else is next for you and National Photo Committee?** I guess I’m excited to make some music videos. Making videos is my first love, and I've taken a really long break from doing that and I'm excited to get back into it. I’m making a documentary about door guys, so I’m excited about that too. And I’m excited to write and record more music this year. --- *see/saw is a reader-supported publication. If you enjoyed this piece, please share and* [*subscribe to the newsletter*](https://see-saw.fun/#/portal/)*.* ### punk this week: doe st, bungee jumpers, flower power + 14 more URL: https://see-saw.fun/punk-this-week-doe-st-bungee-jumpers-flower-power-15-more/ Last updated: 2026-01-09T16:49:38.000Z Hey, it’s [Punk This Week](https://see-saw.fun/punk-this-week-podcast-slut-intent-fog-lamp/). Every Friday, I round up the best new punk and rock'n'roll records and write about them here. This week we’ve got a stellar EP from Australia’s Doe St, an unbelievable fastcore record from Ireland’s Flower Power, a sick one from the Chicago-based and Answering Machines-adjacent project Bungee Jumpers, the new album from Sharp Pins conspirator Joe Glass, a new one from Anytime Cowboy, and so much more. While there’s plenty of free stuff to read on see-saw.fun, this column is only available behind the paywall. A [paid subscription](https://see-saw.fun/#/portal/) costs $4/month or $40/year. Think of it: If you spend $40 right now, then for the entirety of 2026, you’ll get a weekly email with writing about the best punk rock music from all over the damn globe. You’ll also get [bonus podcasts](https://see-saw.fun/tag/jukebox/) and the full [see/saw radio](https://see-saw.fun/see-saw-radio/) archive. The world is a nightmare. It’s been healthy for me to focus on people making noise out there. Art for art’s sake. Maybe you’d be into learning about these beautiful weirdos, too. Come hang out in the [Discord](https://discord.com/invite/CHBEwmPSKB?ref=see-saw.fun); we talk about this stuff overe there, too. My heart’s in South Minneapolis this week. Fuck ICE. --- **Doe St:** [***Same Day***](https://doest.bandcamp.com/album/same-day?ref=see-saw.fun) **\[Legless\]** There’s a bum note in the guitar solo of “Shaking Hands.” Briefly, it thuds. One of the voices in the “woo-*ooh*” backing harmony doesn’t quite reach the “right” note. One voice is taking it a little too easy in the absolute best way. That’s the magic in this EP by the Rye, Australia rock’n’rollers—that occasional bend in the woodgrain. These dudes have hypnotizing jams up their sleeves in service of a long haul-style 1970s-ass hard rock record. It’s loose as hell—rowdy garage punk that feels as boozy as the room you’re most likely to hear it played in. Tom Duell has a perfect voice for this type of music—this straight-faced tone that’s usually affiliated with anarcho or post-punk. Perfect for their very good cover of Sunnyboys’ “Thrill.” This is a very good EP that feels like an album. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/01/a0948236557_10.jpg)](https://doest.bandcamp.com/album/same-day?ref=see-saw.fun) _This post is for paying subscribers only._ ### punk this week podcast: slut intent + fog lamp URL: https://see-saw.fun/punk-this-week-podcast-slut-intent-fog-lamp/ Last updated: 2026-01-06T20:23:51.000Z [Punk This Week](https://see-saw.fun/tag/podcast/) *is see/saw’s free weekly podcast from co-hosts Evan Minsker and Nina Corcoran—a discussion of the latest and greatest in the world of punk rock. We talk about six new punk records we’re loving from the past week.* Happy New Year, fuckface! Nina has accidentally coined a new catchphrase for herself during an incident of Taco Bell-related pedestrian rage. We get into new records by [Slut Intent](https://slutintent.bandcamp.com/album/slutworld?ref=see-saw.fun), [Fog Lamp](https://siltbreeze.bandcamp.com/album/fog-lamp-still-entangled-lp?ref=see-saw.fun), [J.A.R.T.A. Attack](https://jartaattack.bandcamp.com/album/prep-rate-machote?ref=see-saw.fun), [National Photo Committee](https://www.youtube.com/watch?v=vni0NDxOXTA&ref=see-saw.fun), [Spent Film](https://spentfilm.bandcamp.com/album/nothing-short-of-nothing?ref=see-saw.fun), and [Harsh Response](https://harshresponse.bandcamp.com/album/harsh-response?ref=see-saw.fun). It’s a fun one! Shout out some records we missed during out best of 2025 episodes, including [Silver Dolls](https://silverd0lls.bandcamp.com/album/silver-dolls?ref=see-saw.fun), [COFFER](https://cofferlovesjesus.bandcamp.com/album/coffer-iii?ref=see-saw.fun), [Harry W.](https://harryw.bandcamp.com/album/4-and-a-half-songs?ref=see-saw.fun), [Cartoon](https://humanheadstonepresents.bandcamp.com/album/theatre-of-the-absoid?ref=see-saw.fun), and [Racecourse](https://racecourse.bandcamp.com/album/july-december?ref=see-saw.fun). There’s still time to order [a copy of see/saw’s best punk records of 2025 broadsheet](https://see-saw.fun/see-saws-top-54-punk-rocknroll-records-of-2025-a-zine/)! And no matter how much you love our podcast, do not send us a $400 Lips action figure. --- Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.fun). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/see%5Fsaw.fun/?ref=see-saw.fun) and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). Have a question you’d like to hear addressed on the show? Want to talk about a new record we didn’t discuss? Want to send a HARD PIVOT or NO AMERICANS bumper? Join us on the see/saw [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun) or email us: [see-saw@see-saw.fun](mailto:see-saw@see-saw.fun). *Punk This Week* is made possible by see/saw subscribers; please [consider a subscription](https://see-saw.fun/podcast-friends-of-punk-this-week-on-the-best-of-2025/#/portal/) if you enjoy this podcast. You’ll learn about way more punk records than we can pack into the pod! ### playlist: the best punk songs of december 2025 URL: https://see-saw.fun/playlist-the-best-punk-songs-of-december-2025/ Last updated: 2026-01-06T14:39:10.000Z Between travel, events, hangs, zine shipping, quiet scheming, and the process of digesting rich food, the end of 2025 wiped me out. The family decided to have La Marsa cater the Christmas gathering and I ate an irresponsible amount of mjadra. They threw in that whipped garlic stuff. I was toast. Almost every moment for myself was spent listening to genuinely incredible punk records at the end of the year, which is wild. I’ve been gobbling up new punk records all year like Pac-Man for Christ’s sake. But then two fully stacked benefit compilations from the Dissidents ([*Poppy Seeds*](https://thedissidents.bandcamp.com/album/poppy-seeds-an-international-benefit-for-mutual-aid-in-gaza?ref=see-saw.fun)) and Billiam ([*So Fresh: Tote-ally Summer*](https://hiimbilliam.bandcamp.com/album/so-fresh-tote-ally-summer-for-black-peoples-union?ref=see-saw.fun)) hit. Am I supposed to ignore new stuff from Mujeres Podridas, Jacky Cougar, COFFER, Cartoon, and Twenty One Children? If I am presented water, do I not drink? While everybody—including myself—was reflecting on the year in art, it was an active and uplifting month for punk records. I write a lot about the energy I get from new punk music and the impact it tends to have on my mental health. You know how Phil Jackson let Dennis Rodman party in Vegas and be in the NWO during a critical part of the Bulls’ season, and you got the sense that was for his own mental health and ability to focus? I think getting lost in punk records and going to punk shows is my Las Vegas and NWO. I got a couple messages from people that really meant a lot to me. I’ve been told that the podcast and radio show and newsletter are helping people stay grounded in the present during a tumultuous time. That’s what good records do for me, so if the process of sharing good records is helping anybody else out there, that’s the dream. Thanks for subscribing to see/saw, listening and subscribing to the [*Punk This Week* podcast](https://see-saw.fun/tag/podcast/), hanging out in the [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun), buying [see/saw’s best of 2025 newsprint broadsheet](https://see-saw.fun/see-saws-top-54-punk-rocknroll-records-of-2025-a-zine/), enjoying the [radio show](https://see-saw.fun/see-saw-radio/), and being nice to me about all this stuff I’ve been doing. [Paid subscriptions](https://see-saw.fun/#/portal/) for the [weekly column](https://see-saw.fun/tag/punk-this-week/), [bonus podcasts](https://see-saw.fun/tag/jukebox/), and the [radio archive](https://see-saw.fun/see-saw-radio/) cost $4/month or $40/year. If that’s too steep, I’d love for you to consider [bartering](https://see-saw.fun/bartering/) for a behind-the-paywall see/saw subscription. Drop whatever you can in the [tip jar](https://buy.stripe.com/9AQbM991W1h2gxy288?ref=see-saw.fun), send me an email (see-saw@see-saw.fun) to let me know you did that, and I’ll give you some amount of time behind the paywall. I have a few things I’m working on, and I’ll be excited to share more details about those in the coming weeks. For now, have a listen. --- [**the best punk songs of december 2025**](https://www.buymusic.club/list/seesaw-best-punk-songs-december-2025?ref=see-saw.fun) Jacky Cougar & the Vampyres From Africa - Fuck the Police HONG! - Bosan Coffee Stain - TOP SECRET COFFER - blue sugar Eddy Current Suppression Ring - On Islands Alvilda - Cinéma Shrudd - No Man is Good Three Times Cartoon - Sewer Boss Harry W - Losing My Brain USELESS EATERS - DEM VEX Smashed Glass - Round About Twenty One Children - SCAB Mujeres Podridas - Corazon Fuerte Silver Dolls - On the BBC Outsider - Wild Ride RHDP - DISKARGA The lll - KEEP THE PEACE Billiam - Eleven Cents Fugitive Bubble - Picking Meat Off the Bone Today’s Milk - Tryna Do Nape Neck - Silhouettes The Clubs - Shame On You Whyte Lipstick - He’s Gotta Go OCRAM - Ogun mean habit - fetishize me Silicone Prairie - Poison Flowers Harsh Response - Cut the Lock Shakti शक्ति - Maut मौत (Death) Bat Leather - Gloom Beach Twisted Teens - 100 Bill Is Gone! Los Inquietos - Me Caes Bien Mal The Washington Apples - Horse With a Name Mirror Mask - Anymore Fashion Bathers - Exorcism Marathon 1 Jay Millar - Peppermint Shake Power Pants - Living on the Internet Bugg Music - The Thinker Lovebomb - Dog autofill - Mr. Pharmacist Electric Prawns 2 - Blind Point ANYBODYS - NEVERTHELESS High Ideals - High Ideals Happy Death Men - Nice House Guitar Wolf - 9pm Pornomag Planet Robbie Thunder - Phone 2 Ring GR3YBOY - Hack It Ideal Body - Preppers Dirty Job - Siamo Colpevoli Raw Honey - Everybody Leaves Sex Mex - No Money Nervous B.O. - Snooze 'til I Die Bad Beat - Finally Free WORSE - THINK AGAIN Life’s Torment - Immaculate Misconception The Carrion Crawlers - RESMURS fixations - the commercial my guardian angel - Teeth (Pulling Out My) Charade - My Enemy Jubb - Ingen Skoler Control Freaks - TV Generation SYSTEM MAINTAINS - LIFE IS PAIN Rubber - Poison Centra CEMENTO - Guidance commercial breaks - What Do I Do? Amy Beth and Thee Creeps - Fucking With My World maximucho2 - Hechizo Dislocador Louise - Lord Midnight RHOADS - System Decay KING KONG MEUF - KAMiKAZ ETiNCELLE D.I.C.E. - Amoral Order Butter Swamp - phone Marrowbone - The chase, the sweat, the fear KREIN’S LOW-BUDGET DEATH EXTRAVAGANZA - Alexa namatay sa ingay - Internal Migration Rehash Neu Klang - no men (end of a rope) Parisian Orgy - Four Boys Mr. Pescado - My Jerk Ghost Plastique Pigs - Run, Duck, Hide Carny Cumm - For Show PISUAR - TWOJE ZDANIA Dr Sure’s Unusual Practice - Desksitter Es - Growing Pains Toys That Kill - Backwash Me the Antidote Problem Green - Basic! Real Farmer - Missing Link WELT STAR - BADEHAUS Unidad Ideológica - Morirán Jovenes Commitment - Hellraiser Veneno para Niños - CORTO CIRCUITO Family Dog - DOOM WOMB HYPERDOG - Start a Band Full Nude - Dominatrix Picinic Baby Muffler - Call Ghola - Weird Scenes Eye Ball - Making Babies Smile at Me Ace of Spit - Cole’s Chopper Plasma - Painajainen ### punk this week: slut intent, national photo committee + 6 more URL: https://see-saw.fun/punk-this-week-slut-intent-national-photo-committee-6-more/ Last updated: 2026-01-02T23:57:43.000Z Hey Happy New Year, it’s the first Punk This Week of 2026, highlighting a stellar hardcore debut full-length out of Minneapolis, Kai Slater’s final missive of an unbelievable 2025, a new record on Siltbreeze, and a revelatory new album from Max Bottner’s National Photo Committee. A pile of great ones is covered in the paragraphs at the end of this piece. This column is only available in full to those who [subscribe](https://see-saw.fun/punk-this-week-the-clubs-power-pants-autofill-more/#/portal/) for $4/month, $40/year, or [barter](https://see-saw.fun/bartering/) (hit me up). [Punk This Week](https://see-saw.fun/tag/punk-this-week/), [bonus podcasts](https://see-saw.fun/tag/jukebox/), and the full [see/saw radio archive](https://see-saw.fun/see-saw-radio/) are what’s behind the paywall. There’s free stuff, too, if you want to subscribe for free. Grab your copy of [see/saw’s just-released newsprint broadsheet with the top 54 punk + rock'n'roll records of 2025](https://see-saw.fun/see-saws-top-54-punk-rocknroll-records-of-2025-a-zine/) while I still have copies. Grab your nearest and dearest a [gift subscription](https://see-saw.fun/gift-subscription/) to see/saw. Thanks for supporting see/saw this year; it’s meant the world. --- **Slut Intent:** [***Slutworld***](https://slutintent.bandcamp.com/album/slutworld?ref=see-saw.fun) **\[self-released\]** In late 2024, BUIO OMEGA threw themselves a hardcore birthday party in Minneapolis. Bootcamp and Stress Positions played, and several locals came through including Step Sister. Did you read those four band names and think to yourself “holy shit, now that’s a power bill”? Now imagine thinking “holy fucking shit” about a completely separate band on the lineup. For me, the ultimate pummeling came from the self-described “mpls hardcore girl band” Slut Intent. Their long-awaited full-length debut *Slutworld* rings in the new year with killer previously released singles (“Peppa Pig” and “Glitch”) and several more rippers that bring me back to their absolutely relentless live show. This is a self-recorded record where multiple songwriters within the band’s ranks pen violent revenge fantasies about rapists and the fuckers in power who busy themselves subjugating the powerless. You wanna talk about resolutions and setting intentions? *Slutworld* starts 2026 unflinchingly resolute. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2026/01/a0035218441_10.jpg)](https://slutintent.bandcamp.com/album/slutworld?ref=see-saw.fun) --- _This post is for paying subscribers only._ ### podcast: friends of punk this week on the best of 2025 URL: https://see-saw.fun/podcast-friends-of-punk-this-week-on-the-best-of-2025/ Last updated: 2025-12-30T20:56:59.000Z [Punk This Week](https://see-saw.fun/tag/podcast/) *is see/saw’s free weekly podcast from co-hosts Evan Minsker and Nina Corcoran—a discussion of the latest and greatest in the world of punk rock. Usually, we talk about six new punk records we’re loving from the past week.* This time, we welcome friends of the podcast to share their favorite punk things of 2025\. We hear from Tyler Fassnacht ([Baby Tyler](https://nightbellrecords.bandcamp.com/album/sucker-with-a-dream?ref=see-saw.fun)), Martin Douglas ([Trick Bag](https://trickbag.substack.com/)), [Jim Fair](https://www.instagram.com/dogwithamullet/?ref=see-saw.fun) ([Positive Thinking](https://positivethinkingpgh.bandcamp.com/album/the-power-of?ref=see-saw.fun)), [Jael Holzman](https://bsky.app/profile/jael.bsky.social?ref=see-saw.fun) ([Ekko Astral](https://ekkoastral.bandcamp.com/?ref=see-saw.fun)), David Anthony ([Former Clarity](https://www.formerclarity.com/?ref=see-saw.fun)/[Ritual Cross](https://ritualcross.bandcamp.com/album/ritual-cross?ref=see-saw.fun)), [Shauna Boyle](https://www.instagram.com/iwannabeyourmod/?ref=see-saw.fun) (Leatherman/Cable Ties/Lothario), [Lucy Isadora](https://www.instagram.com/likls/?ref=see-saw.fun) (Big Clown/Hammer and the Tools), [Zach Mitchell](https://www.instagram.com/jorty%5Fspice/?ref=see-saw.fun) (Big Clown/[Machine Duplication Recordings](https://mdrobserver.substack.com/)), Sydney Salk ([Van Goth](https://www.instagram.com/vangothrocks/?ref=see-saw.fun)/[Compilation Nation](https://compilationnation.substack.com/)), Drew Ailes ([Citric Dummies](https://citricdummies.bandcamp.com/album/split-with-turnstile?ref=see-saw.fun)), and [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun). Discussed: [The all Roy cut of *Kermit’s Swamp Years*](https://www.youtube.com/watch?v=-kq4dyujuPE&ref=see-saw.fun), [Cruelster](https://convulserecords.bandcamp.com/album/make-them-wonder-why?ref=see-saw.fun), [Science Man](https://scienceman.bandcamp.com/album/monarch-joy?ref=see-saw.fun), [*Shouting Out Loud*](https://www.dacapopress.com/titles/audrey-golden/shouting-out-loud/9780306835902/?ref=see-saw.fun), [Fugitive Bubble](https://sorrystaterecords.bandcamp.com/album/what-will-happen-if-we-stop?ref=see-saw.fun), Skull Fest in Pittsburgh, [PUP](https://puptheband.bandcamp.com/album/who-will-look-after-the-dogs?ref=see-saw.fun), [Lambrini Girls](https://lambrinigirlsband.bandcamp.com/album/who-let-the-dogs-out?ref=see-saw.fun), [AXON](https://notfortheweakrecords.bandcamp.com/album/s-t-2?ref=see-saw.fun), Gonerfest in Memphis, [R.M.F.C.](https://rockmusicfanclub.bandcamp.com/album/ecstatic-strife?ref=see-saw.fun), [Eddy Current Suppression Ring](https://eddycurrentsuppressionring.bandcamp.com/album/shapes-and-forms?ref=see-saw.fun), Big Clown and the Memphis all stars covering “Memphis Creep” in front of Eric Oblivian, [Wesley & the Boys](https://wesleyandtheboys.bandcamp.com/album/rock-roll-ruined-my-life?ref=see-saw.fun), [Nape Neck](https://napeneck.bandcamp.com/album/the-shallowest-end?ref=see-saw.fun), [Pig Kiss’d Emporium](https://www.instagram.com/pig%5Fkissd%5Femporium/?ref=see-saw.fun), [Mississippi Records’ Arthur Russell comp](https://www.mississippirecords.net/catalog/p/mrz-106-arthur-russels-italinan-pop-singles-collection?ref=see-saw.fun), a mix of [Ten Star tracks](https://www.youtube.com/watch?v=YfZFslUV8U0&ref=see-saw.fun), and [Yuasa-Exide](https://apesanctuary.bandcamp.com/album/hyper-at-the-gates-of-dawn?ref=see-saw.fun). Remember to grab [a copy of see/saw’s best punk records of 2025 broadsheet](https://see-saw.fun/see-saws-top-54-punk-rocknroll-records-of-2025-a-zine/) and listen to a [playlist](https://see-saw.fun/best-of-2025-playlist-103-favorite-punk-songs/) featuring 103 punk favorites from the year. See ya again in 2026! ![young kermit and the boys kick back in the swamp](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/12/kermits-swamp-years.png) prospective desktop background from Kermit’s Swamp Years (2002) ![Sydney Salk's mix picks to click in 2025](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/12/RenderedImage-1.jpeg) Sydney Salk's mix picks to click in 2025 --- Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.fun). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/see%5Fsaw.fun/?ref=see-saw.fun) and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). Have a question you’d like to hear addressed on the show? Want to talk about a new record we didn’t discuss? Want to send a HARD PIVOT or NO AMERICANS bumper? Join us on the see/saw [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun) or email us: [see-saw@see-saw.fun](mailto:see-saw@see-saw.fun). *Punk This Week* is made possible by see/saw subscribers; please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-the-best-punk-records-of-2025/#/portal/) if you enjoy this podcast. You’ll learn about way more punk records than we can pack into the pod! ### punk this week: the clubs, power pants, autofill + more URL: https://see-saw.fun/punk-this-week-the-clubs-power-pants-autofill-more/ Last updated: 2025-12-26T17:13:48.000Z Hey, it’s a very brief and very free installment of the Punk This Week column. We’ll be back in full swing with traditional installments in 2026\. Today, I’m just going to briefly run down what’s been good here in the final full week of the year. Traditionally, this recommendations column is about 2,000 words long and only available in full to those who [subscribe](https://see-saw.fun/punk-this-week-coffer-cartoon-guitar-wolf-more/#/portal/) for $4/month, $40/year, or [barter](https://see-saw.fun/bartering/) (hit me up). [Punk This Week](https://see-saw.fun/tag/punk-this-week/), [bonus podcasts](https://see-saw.fun/tag/jukebox/), and the full [see/saw radio archive](https://see-saw.fun/see-saw-radio/) are what’s behind the paywall. There’s free stuff, too, if you want to subscribe for free. There are no wrong answers! Grab your copy of [see/saw’s just-released newsprint broadsheet with the top 54 punk + rock'n'roll records of 2025](https://see-saw.fun/see-saws-top-54-punk-rocknroll-records-of-2025-a-zine/) while I still have copies. Grab your nearest and dearest a [gift subscription](https://see-saw.fun/gift-subscription/) to see/saw. Thanks for supporting see/saw this year; it’s meant the world. --- The best new record out on Christmas week is the self-titled debut EP from [the Clubs](https://nofusstapes.bandcamp.com/album/the-clubs-s-t?ref=see-saw.fun), a power pop band featuring members of Les Lullies, Slander Tongue, and Klavo. Chicago’s [Autofill](https://autofill.bandcamp.com/album/git-yr-fill?utm%5Fsource=album%5Frelease&utm%5Fmedium=email&utm%5Fcontent=fanpub%5Ffnb&utm%5Fcampaign=autofill%2Balbum%2Bgit-yr-fill) dropped a new one called *Get Yr Fill*. Power Pants closes out 2026 with [*PP13*](https://punkvalleyrecords.bandcamp.com/album/pp13?utm%5Fsource=album%5Frelease&utm%5Fmedium=email&utm%5Fcontent=fanpub%5Ffb&utm%5Fcampaign=punkvalleyrecords%2Balbum%2Bpp13). I’m a little late to it, but I’m really enjoying the garage punks [Outsider](https://outsider10.bandcamp.com/album/2025-tape?ref=see-saw.fun) from Bloomington. Standout Oregon punks [Happy Death Men](https://theehappydeathmen.bandcamp.com/album/candyasschucklefucks?ref=see-saw.fun) and [Keddies Resort](https://keddiesresort777.bandcamp.com/music?ref=see-saw.fun) have a new split. Melbourne’s [Pleasers A.D.](https://pleasersadhd.bandcamp.com/album/live-at-the-old-bar?utm%5Fsource=album%5Frelease&utm%5Fmedium=email&utm%5Fcontent=fanpub%5Ffnb&utm%5Fcampaign=pleasersadhd%2Balbum%2Blive-at-the-old-bar) have a live record recorded at the Old Bar. I love the crunchy and noodly electro punk of the new [GR3YBOY](https://itsfuckingmango.bandcamp.com/album/dolor-amoris?utm%5Fsource=album%5Frelease&utm%5Fmedium=email&utm%5Fcontent=fanpub%5Ffnb&utm%5Fcampaign=itsfuckingmango%2Balbum%2Bdolor-amoris). The California garage rockers Ideal Body have two new ones called “[Preppers](https://idealbody.bandcamp.com/track/preppers?ref=see-saw.fun)” and “[Scales](https://idealbody.bandcamp.com/track/scales?ref=see-saw.fun).” There’s an excellent loosie from Italy’s [Dirty Job](https://dirtyjob.bandcamp.com/track/siamo-colpevoli?ref=see-saw.fun) and some great preview tracks from the new album from Philadelphia’s [Raw Honey](https://rawhoneyworld.bandcamp.com/album/everybody-leaves?ref=see-saw.fun). Y’all listen to that Sheer Mag side project the [Seely Jurgens Band](https://seelyjurgensband.bandcamp.com/album/you-were-you-still-b-w-take-me-there?ref=see-saw.fun)? They’ve got a buttery new single. If you’re feeling sad looking at the Christmas tree, try [Shrudd’s covers](https://shrudd.bandcamp.com/album/white-christmas-have-yourself-a-merry-little-christmas?ref=see-saw.fun) of some Christmas standards. Shout out Sweden’s [Nervous B.O.](https://nervousbo.bandcamp.com/album/snooze-til-i-die-soft-hits?ref=see-saw.fun) [Evil Weevil](https://evilweevil.bandcamp.com/album/buzzing-of-the-flies?ref=see-saw.fun) are back and still sound both very evil and significantly weevil. Boston’s [Muck & the Mires](https://rumbarrecords.bandcamp.com/album/tripping-out-on-love-rogue-records?ref=see-saw.fun) offer a new 45 of throwback garage rock. On the hardcore and grind front: Detroit’s [Bad Beat](https://totalsupply.bandcamp.com/album/tsr-025-ep-2025?ref=see-saw.fun), Columbus’ [OCRAM](https://ocramhc.bandcamp.com/album/demo?ref=see-saw.fun), the Southern California band [Crutch of Society](https://emotionlessthecitylies.bandcamp.com/album/crutch-of-society-demo?ref=see-saw.fun), Indonesia’s [WORSE](https://districtsixrecs.bandcamp.com/album/dsr020-br026-worse-messed-up-ep?ref=see-saw.fun) and [Bottled Violent](https://bottledviolent.bandcamp.com/album/im-not-blind?ref=see-saw.fun), Las Vegas’ [Life’s Torment](https://phagetapes.bandcamp.com/album/an-abomination-of-collective-ideologies?ref=see-saw.fun), Texans [UnfortunateTX](https://unfortunatetx.bandcamp.com/album/tony-ferrer?utm%5Fsource=album%5Frelease&utm%5Fmedium=email&utm%5Fcontent=fanpub%5Ffb&utm%5Fcampaign=unfortunatetx%2Balbum%2Btony-ferrer), South Dakota’s [Carrion Crawlers](https://carrioncrawlers.bandcamp.com/track/resmurs?ref=see-saw.fun), and Charlotte’s [fixations](https://getfixxedidiot.bandcamp.com/album/try-less?ref=see-saw.fun). That’s it for now! If you want more, go listen to the [playlist of my favorite punk songs of 2025](https://see-saw.fun/best-of-2025-playlist-103-favorite-punk-songs/). Happy Boxing Day/Jumbo’s Night. ### punk this week podcast: the best punk records of 2025 URL: https://see-saw.fun/punk-this-week-podcast-the-best-punk-records-of-2025/ Last updated: 2025-12-23T18:59:03.000Z [Punk This Week](https://see-saw.fun/tag/podcast/) *is see/saw’s free weekly podcast from co-hosts Evan Minsker and Nina Corcoran—a discussion of the latest and greatest in the world of punk rock. Usually, we talk about six new punk records we’re loving from the past week.* This is it! During our holiday travels to visit family, the two of us found two hours to sit in front of microphones and discuss our respective top three favorite punk records of the year. No spoilers in case you’re don’t want those, but click through the links for [Evan’s](https://abiooze.bandcamp.com/album/live-at-lemp?ref=see-saw.fun) [top](https://kissland.bandcamp.com/album/girls-mignon?ref=see-saw.fun) [three](https://citricdummies.bandcamp.com/album/split-with-turnstile?ref=see-saw.fun) and [Nina’s](https://mhaol.bandcamp.com/album/something-soft?ref=see-saw.fun) [top](https://firstdayback.bandcamp.com/track/gone-on-2?ref=see-saw.fun) [three](https://algernoncadwallader.bandcamp.com/album/trying-not-to-have-a-thought?ref=see-saw.fun). Remember to grab a copy of [see/saw’s physical newsprint broadsheet featuring the top 54 punk + rock'n'roll records of 2025](https://see-saw.fun/see-saws-top-54-punk-rocknroll-records-of-2025-a-zine/). It includes writing from Evan, Nina, and other greats. Consider buying any and all beloved sickos a [gift subscription to see/saw](https://see-saw.fun/gift-subscription/)! ![Evan Minsker showing Nina Corcoran the face of a haunting baby Jesus ornament, which he made in church as a small child, while recording Punk This Week episode 64Evan Minsker showing Nina Corcoran the face of a haunting baby Jesus ornament, which he made in church as a small child, while recording Punk This Week episode 64](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/12/babyjesus.png) Merry Christmas from Evan Minsker and the haunting baby Jesus ornament he made as a child --- Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.fun). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/see%5Fsaw.fun/?ref=see-saw.fun) and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). Have a question you’d like to hear addressed on the show? Want to talk about a new record we didn’t discuss? Want to send a HARD PIVOT or NO AMERICANS bumper? Join us on the see/saw [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun) or email us: [see-saw@see-saw.fun](mailto:see-saw@see-saw.fun). *Punk This Week* is made possible by see/saw subscribers; please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-63-wandering-bird-coffee-stain/#/portal/) if you enjoy this podcast. You’ll learn about way more punk records than we can pack into the pod! ### best of 2025 playlist: 103 favorite punk songs URL: https://see-saw.fun/best-of-2025-playlist-103-favorite-punk-songs/ Last updated: 2025-12-22T20:34:46.000Z To close out the year, I pulled 103 songs from memory and put them in the below playlist. It’s not a ranked list, just some fantastic songs that deserve more ears than they ever got. If you want a ranked list with stellar writing and genuinely excellent artwork, [go buy the newsprint broadsheet](https://see-saw.fun/see-saws-top-54-punk-rocknroll-records-of-2025-a-zine/) that I’m not publishing online. I’ve been reflecting on the past year of writing, assigning, editing, publishing, newsletter life, working a new day job, doing the podcast, launching bonus podcasts, doing a weekly hourlong radio show, and presenting nine different punk shows in Minneapolis and Eau Claire. It’s been extremely gratifying that people have shown up for this art project. If you enjoy this playlist, consider subscribing to see/saw for free or for money. On the long drive to see family, I was listening to some music considered by multiple critics to be 2025’s best. I understood why all of it had such massive crossover appeal, but there was this chill vibes smoothing effect over most of it. It made me appreciate even more that I’ve spent the past two years obsessing over music with sharp edges and stupid jokes, trauma laid bare and demolition derby recklessness. I love punk music. I love being the steward of a punk publication. I love sharing this stuff. Thanks for reading. Please get in touch, I’d love to hear from ya. Also, don’t think too much about this playlist. Some of the best stuff isn’t even on Bandcamp (U.T.A.I.! ECSR’s “Swimming Hole”!). I probably forgot a lot of stuff. Right before I hit publish I saw a Pittsburgh punk record I liked a lot and was like “well shit I could’ve included something from this in there.” But for my own sanity, I’m just sharing these 103 and stopping. --- **evan minsker of see-saw.fun’s 103 favorite punk songs of 2025** [complete playlist on buy music club](https://www.buymusic.club/list/seesaw-evans-punk-favorites-2025?ref=see-saw.fun) [incomplete playlist (78 of them) on tidal](https://tidal.com/playlist/d2146679-88aa-4d15-b21d-a06f74ab4ff5?ref=see-saw.fun) fuck spotify Amerol: Replica The MFC: Piss on a Tesla Eraser: Trans Air Force 2 The Number Ones: Sorry Artificial Go: Circles Panel: Neurotica Jolana Star: Stoned Alone Yuasa-Exide: Marjorie Amor, Muerte Y Leonora: Apaga La Luz Media Puzzle: Bundy Vision Makin’ Out: Hum of Your Voice SEXFACES: Ultraviolence TY: Choked Up Kilynn Lunsford: Disney Girls Coffee Stain: SHRINK Kaleidoscope: Blood Minerals The Educated Fools: Dance the Apartment Total Con: Riders on the Storm Twisted Teens: Circus Clown Kram-A-Xam: Itty Bitty Toe PORQ: Battery Acid Beer: Pine Barrens Meow Meow and the Smackouts: An Decent Punch OUST: Rather be a fuck up than a fascist Big Modern: Parasite R.M.F.C.: Ecstatic Strife Eddy Current Suppression Ring: Despite It All Guyscrapers: Ba Ba Ba Answering Machines: I’ll Know Who’s There Cruelster: Nuclear Word Illiterates: Hig Champion Emmett O’Connor: Burger King From My Dreams TVO: Dumb Fucking World Abi Ooze: Tall King American Muscle: Crime for Love No Peeling: Can I Pet That Dog? 1-800-MIKEY: Lost in Translation Sharp Pins: (I Wanna) Be Your Girl Mr. \[Redacted\]: Jittery Joe Sick Thoughts: The Doom Laundry Bats: Cruisin’ on Fumes The Prize: Down the Street Useless Eaters: Ego Shell Citric Dummies: I Can’t Relate Nape Neck: The Shallowest End Silo Kids: Silo Kids Boy Commandos: Doesn’t Take Alot Bee Bee Sea: Keep It Cool Mujeres Podridas: Sol Flippeur: Boo Puppet Wipes: The Unabomber Used to Come and Dance at Events Optic Sink: Lucky Number Split System: No Cops in Heaven Abism: Barbie Terminator BUIO OMEGA: Secret Fantasy SOGA: Posesión Imploders: Who Am I? Speed Week: Weak Speed Baby Jane: McDonald’s Hiroshima Tee Vee Repairmann: Only a Memory Shrudd: Stagnant Angstmäler: Dehumization Baby Tyler: Sucker With a Dream Haram: Until the Last Breath Boo/Hiss: Banana Song Loose Lips: Good By Johnny Deletär: La balance et le glaive TTTTURBO: Lassie Shirt Bootcamp: Asylum Power Pants: Hero in a Half Shell STERÖID: Warzone in the City Xray Xeroxx: Hooked on Television Smart Shoppers: Spritzer Gerber and the Babies: My Dog Is a Very Good Boy Why Bother?: Indoctrination Self Improvement: Settle Down Pyrex: Slugman COFFER: blue sugar Sex Germs: Breeder Tommy: Sleeping Dogs Amex: Mememe Added Dimensions: Mid-tempo Mind LÙLÙ: LÙLÙ Science Man: Control Collar T.A.C.K.: Repair Man Busted Head Racket & Billiam: Take Ya to War Autobahns: Bad Day Jacket Burner: Tonite Ghoulies: Shafted Perverts Again: Cuss Word Fugitive Bubble: What Will Happen If We Stop Good Flying Birds: Last Straw Motorbike: Afraid of Guns Powerplant: Heat Genre: Deathrow Visual Learner: Factual Heckler Pet Mosquito: Is There a Man Around? Misprints: feel Dorothy Fuzz: 123 Understand Me The Hell: Circling the Drain Dark Thoughts: So Alone Snooper: Star 6\*9 HONG!: Bosan --- *This playlist is free. There are free posts every week on see/saw. Grab a* [*free subscription*](https://see-saw.fun/#/portal/)*, or pay a little bit for weekly recommendation columns to keep up with new punk music every damn week in 2026.* ### punk this week: coffer, cartoon, guitar wolf + more URL: https://see-saw.fun/punk-this-week-coffer-cartoon-guitar-wolf-more/ Last updated: 2025-12-20T01:40:53.000Z It’s [Punk This Week](https://see-saw.fun/tag/punk-this-week/), my weekly punk and rock'n'roll column. Honestly, this time of year is supposed to suck for new music. The year-end lists are all hung by the chimney with care. With splashy exceptions, this time of year is usually what music writers would call “a breather.” Well buckle up, because there’s multiple exceptional new records out this week. Billiam, a true Father Christmas among us, dropped a [65-song benefit compilation](https://hiimbilliam.bandcamp.com/album/so-fresh-tote-ally-summer-for-black-peoples-union?ref=see-saw.fun) that *starts* with a new Eddy Current Suppression Ring song. There’s a new COFFER record. Guitar Wolf dropped multiple new singles and announced an album. It’s a Christmas feast for sickos. To enjoy the full spread of new music—this week and every week—[subscribe](https://see-saw.fun/punk-this-week-amy-beth-and-thee-creeps-coffee-stain-fuzz-13-more/#/portal/) for $4/month, $40/year, or [barter](https://see-saw.fun/bartering/) (hit me up). This [weekly column](https://see-saw.fun/tag/punk-this-week/), [bonus podcasts](https://see-saw.fun/tag/jukebox/), and the full [see/saw radio archive](https://see-saw.fun/see-saw-radio/) are only available to paid subscribers. There’s free stuff, too, if you want to subscribe for free. There are no wrong answers! Grab your copy of [see/saw’s just-released newsprint broadsheet with the top 54 punk + rock'n'roll records of 2025](https://see-saw.fun/see-saws-top-54-punk-rocknroll-records-of-2025-a-zine/) before I run out. A [gift subscription](https://see-saw.fun/gift-subscription/) to see/saw is a perfect stocking stuffer. Now go read up on the good stuff, and happy holidays. --- **COFFER:** [***COFFER III***](https://cofferlovesjesus.bandcamp.com/album/coffer-iii?ref=see-saw.fun) **\[self-released\]** We’re in the latest magnificent era for Detroit rock’n’roll as so many bands have been crushing it over the past year or so. One of the best the city has to offer is COFFER—a wild, fuzz-slathered dirty dog power trio that blew my mind the one opportunity I got to see them live. I’ve been eager to hear the follow-up to their [self-titled tape](https://worshipmusic.bandcamp.com/album/coffer?ref=see-saw.fun) from the end of last year, and like a bolt of lightning, *COFFER III* arrived today. This EP delivered exactly what I was hoping for from that record and their [see/saw benefit comp](https://see-sawdotfun.bandcamp.com/album/battle-for-l-a-a-see-saw-benefit?ref=see-saw.fun) contribution “Nineteen Nervous Breakdown” (which appears on this new one). Antonio from Mod Lang is shredding here under a pseudonym—these three all assume the last name Coffer. “Just Switch” is an unbelievable earworm with tons of punch and an absolutely killer guitar solo. This is a record with six songs that balance charisma with muscle, blues with proto-punk stomp. An essential Detroit rock’n’roll record and a certified Christmas miracle. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/12/a3532228147_10.jpg)](https://cofferlovesjesus.bandcamp.com/album/coffer-iii?ref=see-saw.fun) --- _This post is for paying subscribers only._ ### punk this week podcast 63: wandering bird + coffee stain URL: https://see-saw.fun/punk-this-week-podcast-63-wandering-bird-coffee-stain/ Last updated: 2025-12-16T17:57:55.000Z [Punk This Week](https://see-saw.fun/tag/podcast/) *is see/saw’s free weekly podcast from co-hosts Evan Minsker and Nina Corcoran—a discussion of the latest and greatest in the world of punk rock. We talk about six new punk records we’re loving from the past week.* After a lengthy discussion about the circumstances in which we will celebrate a Calvin pissing bumper sticker, we talk about new records from [Wandering Bird](https://thetruewanderingbird.bandcamp.com/album/promo-mmxxv?ref=see-saw.fun), [Coffee Stain](https://ragdollrecords.bandcamp.com/album/coffee-stain-promo?ref=see-saw.fun), [Rhys Renwick](https://bad-camp.bandcamp.com/album/songs-in-the-key-of-laika?ref=see-saw.fun), [the Washington Apples](https://thewashingtonapples.bandcamp.com/album/s-t?ref=see-saw.fun), [HONG!](https://hongpunk.bandcamp.com/album/mengencingi-musuhmu?ref=see-saw.fun), and [Amy Beth and Thee Creeps](https://chaputarecords.bandcamp.com/album/shitheel?ref=see-saw.fun). It’s our last regular-format podcast of the year; next week we’ll share our punk favorites of 2025! We still would love to know: [Which Muppet are you](https://uquiz.com/quiz/Uk0Qth/which-muppet-are-you-comprehensive?ref=see-saw.fun)? Take the quiz and tell us on [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun). Crucial links: A [mother’s homemade Nazgûl costume](https://www.instagram.com/reels/DQWxxVQAav-/?ref=see-saw.fun) and K9 Sniffies’ 2016 album [*Master’s Touch*](https://k9sniffies.bandcamp.com/album/masters-touch-2?ref=see-saw.fun). Remember to grab a copy of [see/saw’s physical newsprint broadsheet featuring the 54 best punk + rock'n'roll records of 2025](https://see-saw.fun/see-saws-top-54-punk-rocknroll-records-of-2025-a-zine/). It includes writing from Evan, Nina, and our talented friends! Also consider buying your loved ones a [gift subscription to see/saw](https://see-saw.fun/gift-subscription/)! Exclamation point! --- Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.fun). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/see%5Fsaw.fun/?ref=see-saw.fun) and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). Have a question you’d like to hear addressed on the show? Want to talk about a new record we didn’t discuss? Want to send a HARD PIVOT or NO AMERICANS bumper? Join us on the see/saw [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun) or email us: [see-saw@see-saw.fun](mailto:see-saw@see-saw.fun). *Punk This Week* is made possible by see/saw subscribers; please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-62-mujeres-podridas-smashed-glass/#/portal/) if you enjoy this podcast. You’ll learn about way more punk records than we can pack into the pod! ### see/saw’s top 54 punk + rock'n'roll records of 2025: a zine URL: https://see-saw.fun/see-saws-top-54-punk-rocknroll-records-of-2025-a-zine/ Last updated: 2025-12-15T20:52:28.000Z It’s been a genuinely unbelievable year for punk rock records, and every week, I’ve been exhaustively documenting the good stuff as it comes across my desk. But more importantly, I’ve been engaging with a greater community of sickos similarly revved up by this corner of the music world. I’m honored to have collaborated this year with writers, visual artists, bands, and heads. Once again, the natural culmination of the year is a big physical broadsheet documenting the best punk and rock'n'roll records of the year. With artwork by [David Alvarado](https://www.instagram.com/tuffasaurus/?hl=en&ref=see-saw.fun), art direction from [Tyler Nickell](https://www.instagram.com/tylrnckll/?hl=en&ref=see-saw.fun), and editing by me, I’m happy to announce [see/saw’s top 54 punk + rock'n'roll records of 2025](https://see-sawdotfun.bandcamp.com/merch/see-saws-top-54-punk-rocknroll-records-of-2025?ref=see-saw.fun). Just like last year, I’m not putting this writing or list online. The broadsheet features blurbs by Tim Abbondelo, Nina Corcoran, Martin Douglas, Jim Fair, Chris Favata, Luke Henley, Chris Landry, Evan Minsker, Zach Mitchell, Jenn Pelly, Lauren Rearick, Sydney Salk, Maria Sherman, Rocco Tenaglia III, and Cody Triplett. In addition to the 54 records covered, there’s a bunch more favorites named in the literal margins. If you want to hold this in your hands, and trust me you absolutely do, order a copy [here](https://see-sawdotfun.bandcamp.com/merch/see-saws-top-54-punk-rocknroll-records-of-2025?ref=see-saw.fun). Thanks for reading, and have a lovely holiday. ![Evan Minsker holding see/saw's best of 2025 broadsheet, photo by Morgan Barrie](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/12/_K9A0772.jpg) Evan Minsker holding see/saw's best of 2025 broadsheet, photo by Morgan Barrie ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/12/SeeSaw_2025_Zine_Cover.png) ### punk this week: amy beth and thee creeps, coffee stain, fuzz + 13 more URL: https://see-saw.fun/punk-this-week-amy-beth-and-thee-creeps-coffee-stain-fuzz-13-more/ Last updated: 2025-12-12T22:36:21.000Z It’s [Punk This Week](https://see-saw.fun/tag/punk-this-week/), see/saw’s weekly review of the best new punk and rock'n'roll records. I hope you like wild, heavy guitar music designed to rip your face clean off, because this week we’ve got wild noise punk records, next level hardcore, and stomping budget rock from the crypt. How do you learn all the good punk records, this week and every week hereafter until I’m a friendly ghost lurking at some basement show somewhere? You [subscribe](https://see-saw.fun/punk-this-week-twenty-one-children-jacky-cougar-19-more/#/portal/) for $4/month, $40/year, or [barter](https://see-saw.fun/bartering/) (aka pay what you want, just hit me up). This [weekly column](https://see-saw.fun/tag/punk-this-week/), [bonus podcasts](https://see-saw.fun/tag/jukebox/), and the always updating [see/saw radio archive](https://see-saw.fun/see-saw-radio/) are available to paid subscribers. Remember that this holiday season, you can always purchase a [gift subscription](https://see-saw.fun/gift-subscription/) to see/saw for anybody you know and love. I’m at the end of a day job contract, so every little bit of support is massive. Thanks for supporting independent media, now go support the punks. Shout out people who make things. --- **Amy Beth and Thee Creeps:** [***Shitheel***](https://chaputarecords.bandcamp.com/album/shitheel?ref=see-saw.fun) **\[Chaputa!\]** Amy Beth and Thee Creeps is a raucous garage punk operation out of Portland with a hard emphasis on ramshackle budget rock rave-up. This band’s got that party-ready rock’n’roll stomp down, which is held down by the drummer-slash-vocalist Amy Beth. It’s the rare record in the year 2025 that deserves the signifier “rave up.” Pacific Northwest garage rock slathered in dirt and fuzz is a fine tradition to be part of, and this band delivers on a high level (while aesthetically operating out of the discount bin). [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/12/a3398402043_10.jpg)](https://chaputarecords.bandcamp.com/album/shitheel?ref=see-saw.fun) --- _This post is for paying subscribers only._ ### punk this week podcast 62: mujeres podridas + smashed glass URL: https://see-saw.fun/punk-this-week-podcast-62-mujeres-podridas-smashed-glass/ Last updated: 2025-12-09T20:15:15.000Z [Punk This Week](https://see-saw.fun/tag/podcast/) *is see/saw’s free weekly podcast from co-hosts Evan Minsker and Nina Corcoran—a discussion of the latest and greatest in the world of punk rock. We talk about six new punk records we’re loving from the past week.* [Which Muppet are you](https://uquiz.com/quiz/Uk0Qth/which-muppet-are-you-comprehensive?ref=see-saw.fun)? Take the quiz and tell us on [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun). We also discuss a Gumby that is for Nina and also dogs, Kool-Aid pie (shout out [Reba Gibbs](https://www.instagram.com/biscuit%5Fbutt%5F69/?ref=see-saw.fun)), losing what appears to be a tooth chunk after the best night of one’s life, Luigi the yule goat, and eventually, records by [Mujeres Podridas](https://beachimpedimentrecords.bandcamp.com/album/sangre-y-sol?ref=see-saw.fun), [Smashed Glass](https://smashedglass.bandcamp.com/album/wet-cement?ref=see-saw.fun), [Jacky Cougar & the Vampyres From Africa](https://jackycougarthevampyresfromafrica.bandcamp.com/album/jacky-cougar-the-vampyres-from-africa?ref=see-saw.fun), [Shrudd](https://shrudd.bandcamp.com/album/no-man-is-good-three-times?ref=see-saw.fun), [Veneno para Niños](https://bienmalorecords.bandcamp.com/album/suicid-a-gogo?ref=see-saw.fun), and [Only](https://knr-only.bandcamp.com/album/eyes-wide-open?ref=see-saw.fun) --- Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.fun). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/see%5Fsaw.fun/?ref=see-saw.fun) and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). Have a question you’d like to hear addressed on the show? Want to talk about a new record we didn’t discuss? Want to send a HARD PIVOT or NO AMERICANS bumper? Join us on the see/saw [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun) or email us: [see-saw@see-saw.fun](mailto:see-saw@see-saw.fun). *Punk This Week* is made possible by see/saw subscribers; please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-61-bridch-scrabbled/#/portal/) if you enjoy this podcast. You’ll learn about way more punk records than we can pack into the pod! ### tive is the osaka hardcore band taking japan by storm URL: https://see-saw.fun/tive-is-the-osaka-hardcore-band-taking-japan-by-storm/ Last updated: 2025-12-08T15:38:28.000Z Though typically characterized as a country of quiet, polite people, Japan’s hardcore scene is overwhelmingly dominated by heavy beatdown bands met with intense, violent moshing. Legendary bands such as Osaka’s Sand and Tokyo’s [Loyal to the Grave](https://loyaltothegrave168.bandcamp.com/?ref=see-saw.fun) still draw large crowds some 30 years after their debut and have inspired a whole new slew of violent beatdown bands for the next generation. One band, however, decided to forge its own path. Osaka’s [Tive](https://tive.bandcamp.com/album/--3?ref=see-saw.fun) (pronounced teeve) debuted in small live houses in Japan’s Kansai region in 2019, slowly but surely building a rabid fanbase. Inspired by bands such as Turnstile and Trapped Under Ice, Tive is groovy and danceable in all the right ways. With an emphasis on style and catchiness, Tive is unlike anyone else in the Japanese hardcore scene. They just wrapped up a nationwide tour of Japan with 21 dates in 21 different prefectures with 52 different bands supporting. After finishing up that run, Tive rocked the fall [Bloodaxe Festival](https://bloodaxefest.jp/?ref=see-saw.fun) in Kawasaki with an electric performance. After recovering from the mosh pit, I caught up with the band backstage to talk about their origins, inspirations, and the recent tour. --- **Can you guys tell me about the beginning of the band? How did Tive start?** Hajime (vocals): In 2015, our first year of high school, Kenta, our guitarist, took me to see Turnstile. That was my first hardcore show ever. We loved the experience so much that we started a Turnstile cover band in high school and played at our school festivals. Back then, I played bass and sang, Takuma was the drummer, and Kenta was the guitarist. Ikumi (who now plays bass) joined later. **When did you debut as Tive?** Hajime: We started playing shows as Tive in 2019, mostly in Kyoto at first. **Your style of music is very different from what you see from other successful bands in Japan’s hardcore scene. Was it challenging to win people over with your unique sound?** Hajime: At first, no one reacted to anything. Everyone just stood and watched. No singing, dancing, moshing… nothing. Really, it wasn’t until playing Summer Bash Festival in Osaka in 2023 that we started getting good reactions. After that, we started getting more opportunities and recognition within the scene. Over time, the lack of reaction slowly turned into people singing along and moshing. When we recently played in Sapporo, we were shocked by how everyone seemed to know all the words to our songs and sang along. People are actually listening now. It’s really surprising. **What does the name Tive even mean?** Kenta: It’s meaningless. Hajime: Yeah, it’s absolutely nothing. \[*laughs*\] **Really? You gotta give me more than that; how did you decide on it?** Hajime: So, we really loved bands like Turnstile and Trapped Under Ice. So we took the “T” in Tive from them. The rest of the name really is meaningless. We wanted to be like other legendary bands in the Japanese hardcore scene, such as [Palm](https://palmjap.bandcamp.com/?ref=see-saw.fun), [Sand](https://sandhc.bandcamp.com/?ref=see-saw.fun), and [Numb](https://numb.jp/?ref=see-saw.fun); they all have four letters in their name, so we thought it would be good if our name had four letters too. **How about the band’s logo? It’s very bright and sparkly as opposed to most bands in hardcore.** Hajime: Well, we talked about it a lot before debuting it, but it was Kenta’s design and idea. Kenta: Yeah, what was the inspiration for it… I don’t really know. \[*everyone laughs*\] Hajime: We just love sparkly, bright things, like *kira-kira* \[the onomatopoeia for “sparkling” in Japanese\]. ![Tive, photo courtesy the band](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/12/7D9567F5-D15B-4FAB-B25A-61ACCF9F1A03.jpeg) Tive, photo courtesy the band **Turnstile is obviously such a big inspiration for you guys, but what about other bands?** Hajime: Kenta writes a lot of the music, and his favorite is definitely Code Orange. Kenta: I also watch a lot of hate5six videos… I get really inspired by lots of bands and performances on that YouTube channel. Ikumi: I really love [vein.fm](http://vein.fm/?ref=see-saw.fun). Takuma: Jesus Piece, Gulch, and Knocked Loose have been some recent inspirations, too. Hajime: In Japan, definitely Palm. Palm *is* Osaka hardcore. Also bands like [Numbernine](https://www.instagram.com/numberninedudes/?hl=en&ref=see-saw.fun) and [Tiger](https://www.instagram.com/tigerkzk/?hl=en&ref=see-saw.fun). **What does it mean to be part of the Osaka hardcore scene—to be an Osaka band?** Hajime: Well, when we first started, we were mainly being booked in Kyoto, so people thought we were from there even though we’re from Osaka. It wasn’t until we literally started to put “Osaka Hardcore” on our shirts that people began to realize we were from Osaka. These days, we aren’t really trying to represent Osaka; we want to represent Japan as a whole. That’s why we changed our shirts from “Osaka Hardcore” to “Nippon Hardcore.” Kenta: Although we do love how Osaka bands always go for a very catchy sound in their music. Kinda like the “Pon Pon!” in [Reverse Boyz’](https://www.instagram.com/www%5Fneoninja%5Fcom/?hl=en&ref=see-saw.fun) “Ponpon!!,” the “Ohhhh!!!” in Sand’s “Poser,” or the “Oi Oi!” in Palm’s music…we also want to make music that is catchy and moshable. That’s why we wrote our song “[Ayy, Ayy, Ayy](https://tive.bandcamp.com/track/--8?ref=see-saw.fun)” to be so catchy. **Japanese hardcore is really well respected in the international scene. Why do you guys think that is?** Hajime: Is it really? We don’t feel like that many people overseas care about Japanese hardcore… unless you’re talking about [Kreulty](https://kruelty666.bandcamp.com/?ref=see-saw.fun). \[*laughs*\] It seems like people care a lot more about countries like Indonesia or Australia from this side of the world… we would love it if more people started listening to Japanese hardcore. **You guys just toured all over Japan, which bands don’t really do anymore; what was the inspiration for the tour? How did it go?** Hajime: When bands tour in America and Europe, they don’t do small tours, they tour all over the place. So we wanted to do something like that in Japan. Kenta: The tour was amazing… It was the best. Hajime: Yeah, it was really fun, but now we’re super tired. \[*laughs*\] **What city sticks out in your mind as the best or most memorable?** Kenta: Okinawa was really amazing… it was just like we were on vacation. \[*everyone laughs\]* Hajime: Yeah, totally. Oh, and Hokkaido. It was our first show of the entire show. We were supposed to take a big ship there. It was going to be a nice, peaceful journey. But on the day we were supposed to travel, the ship canceled on us, so we ended up having to drive for about 30 hours from Osaka to Sapporo. We were totally exhausted when we got there, and our spirits were pretty low, but the show ended up being amazing. The audience was super excited and energetic, and I think it was the perfect note to begin the tour, as the rest of it went amazingly. **What was it like booking shows in places like Nara, Yamaguchi, and Iwate, which don’t have a very active scene?** Hajime: It was very difficult, of course. We basically looked up every active hardcore band in every prefecture in Japan and then looked up any venues and studios we could possibly play at. After that, we contacted all the bands and venues, and got shows booked in 21 prefectures. We would’ve played in all 47 prefectures if possible, of course, but about 21 ended up working out. **How was the reaction in the smaller prefectures?** Hajime: Because there aren’t many shows happening in those smaller places, all of the hardcore fans in them turned up, and their reactions were really big. Their reaction was actually even bigger and more enthusiastic compared to bigger places like Tokyo and Osaka. Even though the crowds might not have been as big, people had so much fun, and the reactions from fans were so intense that I’m really happy that we ended up touring there. **Are there any bands you toured with that stick out in your mind that more people should know about?** Takuma: Break of Chain was really amazing, even though they aren’t really a small or unknown band in Japan. We played with them in Fukushima, but they’re from Sendai in Miyagi. Kenta: Yeah, we were so excited to play with them. We were singing their songs in the car together on the way to the show. \[*everyone laughs*\] **You’ve opened for tons of popular foreign bands over the past few years; what were some of the best bands to open for?** Hajime: Are we allowed to say Turnstile? \[*laughs*\] That was an amazing experience because they were our main inspiration. Also, for me, Show Me the Body and Soul Glo. Takuma: Being able to open for Zulu before they broke up was really awesome. Kenta: Drain was so sick… oh, and Spy. Ikumi: As for me, playing with Gel in Tokyo for what ended up being their last show was incredibly memorable. **What do you all want for the future of Tive?** Ikumi: Headlining Sound and Fury and Outbreak Festival. Kenta: Sorry about him, he’s an idiot. \[*everyone laughs*\] Hajime: Well, of course, we’re working on new music. And we hope to play internationally one day, especially in America…maybe the West Coast would be cool. Our latest EP was mixed by Charles Toshio, who has mixed for Real Bay Shit artists like Scowl, Gulch, and Sunami. It would be really cool to go play in that area and see him in person. **Is there anything else you really want people overseas to know about Tive?** Takuma: We aren’t a Japanese hardcore band. We’re a Nippon hardcore band. Or at least, that’s what we’re becoming. ![Tive’s crowd at a show, photo courtesy the band](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/12/D8788186-12C5-4FBE-A944-A4836F8B1A4A.jpeg) Tive’s crowd at a show, photo courtesy the band --- *Knox Yoder is a freelance journalist, punk/hardcore promoter, and tour guide based in Osaka, Japan. They enjoy ska punk, despite it all.* *see/saw is a reader-supported publication. If you enjoyed this feature, please share and* [*subscribe*](https://see-saw.fun/#/portal/)*.* ### punk this week: twenty one children, jacky cougar + 19 more URL: https://see-saw.fun/punk-this-week-twenty-one-children-jacky-cougar-19-more/ Last updated: 2025-12-06T00:43:00.000Z Hey, it’s Punk This Week. It’s a punk and rock'n'roll recommendations column, and since it’s a Bandcamp Friday, there’s a flood of new records. There are some pretty exceptional ones this week by bands like Twenty One Children, Jacky Cougar & the Vampyres From Africa, Mujeres Podridas, Shrudd, TY, and more. You want to read about all 21 of the best records out this week? You want to take full advantage of Black Friday and read all the recent Punk This Week columns? This [weekly column](https://see-saw.fun/tag/punk-this-week/), [bonus podcasts](https://see-saw.fun/tag/jukebox/), and the always updating [see/saw radio archive](https://see-saw.fun/see-saw-radio/) are available for people who [subscribe](https://see-saw.fun/punk-this-week-scrabbled-bag-11-more/#/portal/) for $4/month, $40/year, or [barter](https://see-saw.fun/bartering/) (aka pay what you want, just hit me up). And if you’re not behind the paywall and able to read the whole thing, just be sure to go get that [*Poppy Seeds* benefit compilation](https://thedissidents.bandcamp.com/album/poppy-seeds-an-international-benefit-for-mutual-aid-in-gaza?ref=see-saw.fun). Thanks for reading. --- **Twenty One Children:** [***After the Storm***](https://twentyonechildren.bandcamp.com/album/twenty-one-children-after-the-storm-ep?ref=see-saw.fun) **\[Slovenly\]** Twenty One Children are a young band operating out of Soweto, South Africa, but they sound like a young band ripping ’80s West Coast skate punk. The guitar sound on the new mini-album *After the Storm* is completely blown out, just feedback on distortion on feedback, though there’s enough room in the mix to hear their prodding lyrics delivered in a coarse holler. “Watch your back,” they repeatedly warn on “SCAB,” but the best shit on this record are the moments between songs where you can hear them being loose. There’s a tangibility to this record because they’re inviting the listener to understand their sense of humor and rhythms. The whole opening of “Rain Dance” spells out some potential autobiography that’s by no means region-locked: “All the kids that used to take drugs with us eventually got fucked,” they bark. This is jagged music that would’ve crushed on SST, but it’s not a museum piece. Twenty One Children are very much alive. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/12/a1351697005_10.jpg)](https://twentyonechildren.bandcamp.com/album/twenty-one-children-after-the-storm-ep?ref=see-saw.fun) --- _This post is for paying subscribers only._ ### punk this week podcast 61: bridch + scrabbled URL: https://see-saw.fun/punk-this-week-podcast-61-bridch-scrabbled/ Last updated: 2025-12-02T21:13:49.000Z [Punk This Week](https://see-saw.fun/tag/podcast/) *is see/saw’s free weekly podcast from co-hosts Evan Minsker and Nina Corcoran—a discussion of the latest and greatest in the world of punk rock. We talk about six new punk records we’re loving from the past week.* As we bid a tearful farewell to Nina’s laptop, we offer a post-Thanksgiving demand that you tell us about your pies. We discussed new records from [Quazimorto](https://quazimorto.bandcamp.com/album/epis-dio-02?ref=see-saw.fun), [Extraña Humana](https://extranahumana.bandcamp.com/album/bailando-en-la-oscuridad?ref=see-saw.fun), [cóclea](https://coclea.bandcamp.com/album/modus-operandi?ref=see-saw.fun), [BAG](https://bagmusic3.bandcamp.com/album/bag-demo-2025?ref=see-saw.fun), [Bridch](https://bridch.bandcamp.com/album/m-sica-desechable?ref=see-saw.fun), and [Scrabbled](https://scrabbledsounds.bandcamp.com/album/plough-through-the-rust?ref=see-saw.fun). We also discover the connective tissue shared by all six records. Essential link: the [recipe for butternut squash enchiladas](https://www.vegetariantimes.com/recipes/butternut-squash-enchiladas-0/?ref=see-saw.fun). --- Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.fun). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/see%5Fsaw.fun/?ref=see-saw.fun) and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). Have a question you’d like to hear addressed on the show? Want to talk about a new record we didn’t discuss? Want to send a HARD PIVOT or NO AMERICANS bumper? Join us on the see/saw [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun) or email us: [see-saw@see-saw.fun](mailto:see-saw@see-saw.fun). *Punk This Week* is made possible by see/saw subscribers; please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-60-sharp-pins-hetta/#/portal/) if you enjoy this podcast. You’ll learn about way more punk records than we can pack into the pod! ### playlist: the best punk songs of november 2025 URL: https://see-saw.fun/playlist-the-best-punk-songs-of-november-2025/ Last updated: 2025-12-01T21:20:50.000Z List season is in full swing, which is wonderful—a time for clicking around to see what all I’ve missed while living in the underground punk rabbit hole. Over the past several years, including while I was still at Pitchfork, I stopped feeling invested in how the lists at big publications shook out. Individual and genre/niche-specific lists have always seemed more functionally interesting to me. Give me records and voices outside the critical consensus. I was just reading Marissa Moss’ new [Don’t Rock the Inbox](https://www.dontrocktheinbox.com/im-the-problem-with-your-year-end-lists-and-a-sale/?ref=dont-rock-the-inbox-newsletter) post (subscribe!) lamenting the lack of country music representation—aside from Morgan Wallen—in 2025’s first major year-end lists. “Morgan Wallen did not make the best country album of the year, nor the best song. Not even close.” It’s tempting to play that same game with punk music. CTRL-F the word “punk” in the Pitchfork songs list and you’ll find it used (by excellent writers!) largely to describe ethos or origins over sound. So who made the best punk song of the year according to this year’s big Pitchfork list? The jury’s out. Punk’s a big tent, and even so, I’d argue that anything you could call punk on that list veers more toward indie rock, capital-r rock music, or pop. Even if you do count their new one as a punk album (it isn’t), Turnstile didn’t even make the [best punk record of the year featuring the word “Turnstile.”](https://citricdummies.bandcamp.com/album/split-with-turnstile?ref=see-saw.fun) It’s not a surprise or remotely worth criticizing; while I was there, I never expected Pitchfork to confidently or definitively name the best punk songs of the year in the big lists. The last three years I was part of the voting system, the most highly ranked punk songs were by Mannequin Pussy, Fontaines D.C., and Turnstile. And that makes sense! Those bands are big, they record big songs that people love, and they play them to big crowds. I’m not putting those songs or artists down—great big punk bands with managers and big labels and crossover appeal can be incredible. There’s just no chance the best underground punk songs of the year are going to appeal to, or necessarily reach, a broad group of experts. That’s why I love a niche publication’s drill-down genre-specific list or a personalized list. Nina Corcoran and Madison Bloom’s [best rock of 2024 list for Pitchfork](https://pitchfork.com/features/lists-and-guides/best-rock-albums-2024/?ref=see-saw.fun) ruled because it highlighted their individual favorites, several of which got lost in the overall consensus-based voting process. Big lists are monoliths to get ears on good music that broadly appealed to a big group of critics. For me, as I’ve been deep in the weeds of my preferred niche, they’re incredibly useful as shortcuts toward “what is considered good and new” listening. But if you’re looking for the best country music of the year, you’re not going to find it in a big list. Same goes for punk and so many other subgenres. Honestly, a lot of what I wrote here gets at why I started see/saw. Punk records are deeply important to me, and they deserve a platform of their own instead of being a sideshow to corporate media’s pop cultural overview. The see/saw best punk & rock'n'roll records of 2025 list is coming soon. Once again, it’ll be a big ass zine with sick artwork that I won’t publish online. Quick note: Today (December 1) is the last day of the see/saw subscription sale. If you want to subscribe for $30/year for the first year instead of $40/year (25% off), go ahead and [subscribe here](https://see-saw.fun/r/66346234?m=a665affa-dd32-470d-a611-41ce8416dab9). If you know somebody who loves punk music and think they’d be into keeping up, consider getting them a [gift subscription](https://see-saw.fun/r/2616e3a2?m=a665affa-dd32-470d-a611-41ce8416dab9) for $30/year. Now to business—a playlist featuring the best punk songs of November 2025\. It’s embedded in the browser version of this piece below, or you can [follow this link](https://www.buymusic.club/list/seesaw-best-punk-november-2025?ref=see-saw.fun). [**see/saw’s best punk songs of november 2025**](https://www.buymusic.club/list/seesaw-best-punk-november-2025?ref=see-saw.fun) Pill Mill: Yuppie Farm No Idols: Into the Spiral Baby Jane: McDonald’s Hiroshima Attention Deficit: Attention Deficit Power Pants: Hero in a Half Shell Tee Vee Repairmann: Only a Memory Flippeur: Le Monde Marche Sur La Tête Italian Bed: Collapse Enemic Interior: Eterns Jacky Cougar & the Vampyres From Africa: Nancy Clickbait: Fish Fillet Smirk: Domestic Dog BAG: The Problem Mr. Strong: Bad Luck Béton Armé: Coupde Foudre \[ft. Fizzy\] Scrabbled: Waiting for Godot Sub Rosa: Opie’s Song (I Eat a Little Cat Food Every Day) Jacket Burner: All the Time Payphones: Cold Call Dr. Sure’s Unusual Practice: No Pigs Prise Rapide: Prise Rapide Extraña Humana: Desperdicio Chained Bliss: Don’t Come Looking Jimmy and the Boonies: Here Comes the Spectre Amerol: Fuck Everything Happy Farm: The Plan Angstmäler: Dehumanization KLINT: Swingtime Up in Haithabu Dick Move: Run For Your Money N.E. Vains: Running Down Pylons Home Front: D.W.A. Bad Vibes: Eeyore Psico Falera: Imperfetto, sii Imperfetto Hektär: Big Blood Soft on Crime: Summer Fix Fantasma: Onde Eu Estou? Lifeguard: Ultra Violence Bridch: PDM (Punk de Mentiras) Bella Larson & the Scene Kids: Hotline BIB Fruit Tones: Easy Peeler Total Sham: Makes Me Wild Pen16: King of Ska Big Modern: Gatekeep Parking Lot: Mini Pocket Liquidator The Moats: Lead Hat Tony Molina: Lie to Kick It Sharp Pins: Takes So Long Andresa Nugraha: Nothing Lasts Forever The Wesleys: Magic Wand Thee Headcoatees: I Can’t Find Pleasure Fashion Bathers: Harder Than Fuck Sweet Reaper: Motion Itches: Mahahual Strange Passage: Hunter’s Fancy The Metric Ton: Hoomfree Hinkus Total Revold of All Limbs: It’s Coming From Inside (T.R.O.A.L.) Maraudeur: 58141 Casa Dragon: Mascletá Rites of Hadda: Fuck Them Frida Kill: Queen of the Thrill Water Heater: No Longer Oba Yozo snarewaves: Variable (Love Song) Rat Art: Expression The WRS: Watcha (Don’t Believe the Hype) Havana Syndrome: AI Brain Mini Skirt: Mud Blood Cookie: Out at Sea Team Trust: Got All Day Onyon: Molasses Wiccans: Prison Planet BIOS-4 Blood Rite: The Unending Hell Selfish Teammate: It’s Your World Industry: Manipulated Reality screensaver: Drip Feeding 80HD: Elf Tavern Detergent: Pain Is Pay Hektiks: Wealth in Death Glowing Orb: Power Reveals Laughing Corpse: Slaughtered and Maimed Tardive Dyskinesia: Numb Life ### punk this week: scrabbled, bag + 11 more URL: https://see-saw.fun/punk-this-week-scrabbled-bag-11-more/ Last updated: 2025-11-28T22:43:55.000Z It’s [Punk This Week](https://see-saw.fun/tag/punk-this-week/), see/saw’s punk and rock’n’roll round-up column. It’s Thanksgiving weekend—a typically slow release window for music as a whole. Let’s dig into some essential misses from the recent past, including the incredible new album from Scrabbled and the Botox promo. Let’s meet some new bands making incredible records. Grab a decorative gourd; it’s harvest time. This [weekly column](https://see-saw.fun/tag/punk-this-week/), [bonus podcasts](https://see-saw.fun/tag/jukebox/), and the always updating [see/saw radio archive](https://see-saw.fun/see-saw-radio/) are available for people who [subscribe](https://see-saw.fun/punk-this-week-wiccans-pigeon-pit-cosmic-psychos-15-more/#/portal/) for $4/month, $40/year, or [barter](https://see-saw.fun/bartering/) (aka pay what you want, just hit me up). Right now I’m running a sale: If you want to subscribe for $30/year for the first year instead of $40/year (25% off), go ahead and [subscribe here](https://see-saw.fun/r/66346234?m=a665affa-dd32-470d-a611-41ce8416dab9). If you know somebody who loves punk music and think they’d be into keeping up, consider getting them a [gift subscription](https://see-saw.fun/r/2616e3a2?m=a665affa-dd32-470d-a611-41ce8416dab9) for $30/year. Thanks for reading and thanks for your support. Have a nice weekend. --- **Scrabbled:** [***Plough Through the Rust***](https://scrabbledsounds.bandcamp.com/album/plough-through-the-rust?ref=see-saw.fun) **\[Wormwood Grasshopper\]** Scrabbled is a Bribane-based punk operation who wield drone, noise, and violin to make scratchy and dark collages that drip with personality. There’s this whole section of “N.K.O.T.B.” where Bek Moore and Dusty Anastassiou sing about kids with “shit for brains” who play “GTA fuckin’ V.” It’s a foggy record where intensity occasionally cuts through all the tranquilo—where sharp lyrics and freeform experimentation flank from all sides to keep this record exhilarating in every moment. It’s sadly a [final missive](https://www.theguardian.com/music/musicblog/2016/apr/13/bek-moore-why-the-brisbane-punk-scene-will-never-forget-its-unruly-queen?ref=see-saw.fun) from Scrabbled following Moore’s death in 2016\. Greg Hilliard is also no longer with us. It’s a crucial document not just because two of these Australian punk luminaries are no longer with us. *Plough Through the Rust* merits study and extensive contemplation. In the short time I’ve been living with it, it’s been such a pleasure to listen to it repeatedly—to see how the threads connect between lines and comprehend its many layers. Unbelievable record. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/11/a2385686776_10.jpg)](https://scrabbledsounds.bandcamp.com/album/plough-through-the-rust?ref=see-saw.fun) _This post is for paying subscribers only._ ### see/saw jukebox: mspaint’s deedee URL: https://see-saw.fun/see-saw-jukebox-07-mspaints-deedee/ Last updated: 2026-06-04T22:11:58.000Z [*see/saw jukebox*](https://see-saw.fun/tag/jukebox/)is a bonus podcast about perfect punk records from *Punk This Week* hosts Nina Corcoran and Evan Minsker. It’s available exclusively to [paid see/saw subscribers](https://see-saw.fun/see-saw-jukebox-06-ekko-astral/#/portal/) ($4/month or $40/year or [barter](https://see-saw.fun/bartering/) \+ there’s a two-week free trial). In each episode, Nina and Evan are joined by a guest. Then, each of us pick a perfect punk record to add to the idyllic punk jukebox of our *minds*. This time, we’re joined by MSPAINT frontperson Deedee. We discuss the Waffle House jukebox, Hattiesburg scene politics, and of course, essential records. Subscribe and you can hear the full episode, in this post, below. --- _This post is for paying subscribers only._ ### punk this week podcast 60: sharp pins + hetta URL: https://see-saw.fun/punk-this-week-podcast-60-sharp-pins-hetta/ Last updated: 2025-12-02T20:47:47.000Z [Punk This Week](https://see-saw.fun/tag/podcast/) *is see/saw’s free weekly podcast from co-hosts Evan Minsker and Nina Corcoran—a discussion of the latest and greatest in the world of punk rock. We talk about six new punk records we’re loving from the past week.* Nina saw an absurd number of movies in theaters and now has a stockpile of popcorn in Ziploc bags. Evan had a sword held to his crotch in the tiny room of Minneapolis’ Eagles #34 courtesy the Memphis punks [Snörkler](https://www.instagram.com/p/DRU6T6Ujn01/?img%5Findex=6&ref=see-saw.fun). We discuss new records from [Sharp Pins](https://sharppins.bandcamp.com/album/balloon-balloon-balloon-2?ref=see-saw.fun), [HETTA](https://hetta.bandcamp.com/album/acetate?ref=see-saw.fun), [Flippeur](https://howlinbananarecords.bandcamp.com/album/lastique?ref=see-saw.fun), [Bee Bee Sea](https://beebeesea.bandcamp.com/album/stanzini-can-be-allright?ref=see-saw.fun), [the Brokedowns](https://thebrokedowns.bandcamp.com/album/lets-tip-the-landlord?ref=see-saw.fun), and [Big Modern](https://bigmodern.bandcamp.com/album/big-modern?ref=see-saw.fun). Essential links: Leor Galil’s new *Chicago Reader* feature about the [Hallogallo scene all grown up](https://chicagoreader.com/music/music-feature/hallogallo-horsegirl-lifeguard-friko-sharp-pins-uniflora-marigold-memory-card/?ref=see-saw.fun) \+ [Shaq running to the bathroom on *Inside the NBA*](https://www.youtube.com/watch?v=7sGWcouZLuE&ref=see-saw.fun). --- Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.fun). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/see%5Fsaw.fun/?ref=see-saw.fun) and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). Have a question you’d like to hear addressed on the show? Want to talk about a new record we didn’t discuss? Want to send a HARD PIVOT or NO AMERICANS bumper? Join us on the see/saw [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun) or email us: [see-saw@see-saw.fun](mailto:see-saw@see-saw.fun). *Punk This Week* is made possible by see/saw subscribers; please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-59-soft-on-crime-laughing-corpse/#/portal/) if you enjoy this podcast. You’ll learn about way more punk records than we can pack into the pod! ### punk this week: sharp pins, thee headcoatees, tee vee repairmann + 13 more URL: https://see-saw.fun/punk-this-week-sharp-pins-thee-headcoatees-tee-vee-repairman-13-more/ Last updated: 2025-11-22T21:06:35.000Z Hi everybody, it’s [Punk This Week](https://see-saw.fun/tag/punk-this-week/), see/saw’s weekly round-up of the great punk and rock’n’roll records newly bestowed upon the world. Hold onto your pants because there are new records out this week from Sharp Pins, Tee Vee Repairmann, Flippeur, and amazingly, Thee Headcoatees. (Holy shit!) Ready to read all about the good new rock'n'roll records, this week and every week? The column, bonus podcasts, and the full radio archive are available when you [subscribe to the see/saw newsletter](https://see-saw.fun/#/portal/) for $4/month, $40/year, or [barter](https://see-saw.fun/bartering/). This final part of the intro is where I remind you, dear reader, that the only way see/saw exists is through the financial and word-of-mouth support from readers like you. [Subscribe](https://see-saw.fun/#/portal/) and tell your friends. Hope you’re having a nice weekend. --- **Sharp Pins:** [***Balloon Balloon Balloon***](https://sharppins.bandcamp.com/album/balloon-balloon-balloon-2?ref=see-saw.fun) **\[K\]** Between hard touring, the Lifeguard album, and the acclaimed broad release of *Radio DDR*, Kai Slater’s 2025 has been unbelievable. *Balloon Balloon Balloon* isn’t so much a victory lap for Sharp Pins’ young mastermind as it is a deepening of everything he’s already established. Joined by Hayes Waring, “Popafangout” sounds like it’s kicking into another jangly garage pop hit-after-hit record, but the warm muffled ballad “Gonna Learn to Crawl” is an example of this album’s patience. This is a record of expert songwriting, both earworm immediate and charmingly meandering, piped in through the AM radio ether. *Balloon Balloon Balloon* is the joy of the drums coming in wildly hot on “Takes So Long” before feedback encases the psychedelic ballad “Stop to Say ‘Hello’” one song later. It’s sunshine pouring through all the windows. It’s dust placed meticulously into the grooves. It’s a promise that the well goes deeper than you previously imagined. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/11/a0050481145_10.jpg)](https://sharppins.bandcamp.com/album/balloon-balloon-balloon-2?ref=see-saw.fun) _This post is for paying subscribers only._ ### punk this week podcast 59: soft on crime + laughing corpse URL: https://see-saw.fun/punk-this-week-podcast-59-soft-on-crime-laughing-corpse/ Last updated: 2025-11-18T15:16:57.000Z [Punk This Week](https://see-saw.fun/tag/podcast/) *is see/saw’s free weekly podcast from co-hosts Evan Minsker and Nina Corcoran—a discussion of the latest and greatest in the world of punk rock. We talk about six new punk records we’re loving from the past week.* What’s the wettest you’ve ever been in the audience of an indoor concert? Can you top Nina emptying water out her rain boots in the Empty Bottle bathroom? We also discuss a [*Sesame Street* banger](https://www.youtube.com/watch?v=ZQaq0-9eqNc&ref=see-saw.fun), having a Devo birthday, Sims Hardin’s [Aussie post-punk compendium](https://daily.bandcamp.com/lists/australian-post-punk?ref=see-saw.fun) for Bandcamp, plus excellent new records from [Soft on Crime](https://softoncrime.bandcamp.com/album/noz-mat-ep?ref=see-saw.fun), [Laughing Corpse](https://laughingcorpse.bandcamp.com/album/beyond-recognition?ref=see-saw.fun), [Pen16](https://deadbrokerekerds.bandcamp.com/album/magic-touch?ref=see-saw.fun), [Adobe Homes](https://zegemabeachrecords.bandcamp.com/album/a-os?ref=see-saw.fun), [Industry](https://lavidaesunmus.bandcamp.com/album/s-t-34?ref=see-saw.fun), and [Mini Skirt](https://miniskirt666.bandcamp.com/album/all-that-we-know?ref=see-saw.fun). --- Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.fun). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/see%5Fsaw.fun/?ref=see-saw.fun) and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). Have a question you’d like to hear addressed on the show? Want to talk about a new record we didn’t discuss? Want to send a HARD PIVOT or NO AMERICANS bumper? Join us on the see/saw [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun) or email us: [see-saw@see-saw.fun](mailto:see-saw@see-saw.fun). *Punk This Week* is made possible by see/saw subscribers; please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-58-squint-total-sham/#/portal/) if you enjoy this podcast. You’ll learn about way more punk records than we can pack into the pod! ### sexfaces enlist all the d.c. punk baddies for their “s.c.u.m.” video URL: https://see-saw.fun/sexfaces-enlist-all-the-d-c-punk-baddies-for-their-s-c-u-m-video/ Last updated: 2025-11-17T20:58:06.000Z [SEXFACES](https://see-saw.fun/sex-faces-seasoned-dc-punks-are-not-always-on-the-same-page/) released their exceptional new album [*Bad Vibes OST*](https://sexfacesdc.bandcamp.com/album/sexfaces-bad-vibes-ost-lp?ref=see-saw.fun)earlier this year on Slovenly. Today marks the premiere of their “S.C.U.M.” video. Directed by Jonathan Howard, animated by Krime Slugz Captain Krut, and edited by the band’s Sal Go, the visual features a rumble at the Downtown Boxing Gym. This is the first I’ve ever done a music video premiere. Maybe it’s the last time. SEXFACES talked me into it because that band rules. Watch it below! S.C.U.M., of course, is an abbreviation for the Society of Cutting Up Men. The YouTube description quotes from Valerie Solanas’ 1967 *SCUM Manifesto*. “With beer, cokes, and tequila generously provided by Fkin Richard, the SCUM gang formed telepathically from local DC punks, artists, academics, and degenerates for one singular purpose: to beat the shit out of all Agents of the Patriarchy,” the band’s statement reads. “Fortunately for the two incomplete-chromosone bearing members of Sexfaces, Jacky and Neil avoided certain doom by actually showing up for band practice.” The Scum Gang features Hana Racecar & Sal Go (SEXFACES), Hanna M (Darker Than), Vero (Teen Cobra), Guinevere Tully (Rosslyn Station), Sarah Barnfart (Sad Roach), Emily Rainey (ex-Pickaxe), Tanglewood Sue, and Dr. Theodora Danylevich. Their rivals in the Chad Gang include Christopher (Venray), Scott Archer (Darker Than), Scotty Mo (Hawkwatcher), Mike L (ADD Ramone), and Stephen Donoway (Rhizome). The role of Wiggles the Ref is helmed by Ben Brown. Aaron Herencia makes a guest appearance. When asked by crew/BTS photographer Derek Flynn how many scenes were left, Howard responded, “I have long since abandoned the storyboard.” ### punk this week: home front, tony molina, clickbait + 25 more URL: https://see-saw.fun/punk-this-week-home-front-tony-molina-clickbait-25-more/ Last updated: 2025-11-14T20:36:57.000Z Hey everyone, it’s Evan Minsker. It may surprise you to learn that today is my birthday. When your birthday falls on a Friday in November, you have two options: spend all day writing about punk records at your desk until it’s dark out, or go somewhere else. I’m going to do the second thing. This isn’t the usual [Punk This Week](https://see-saw.fun/tag/punk-this-week/) column. Instead of 2,000 words of criticism and contextualization, this one’s just a list of records I think you should click on and check out. I’ll talk about three of them more in depth on the next [*Punk This Week* podcast](https://see-saw.fun/tag/podcast/) and play the good stuff on the [radio](https://see-saw.fun/see-saw-radio/)/put it on the next [playlist](https://see-saw.fun/tag/playlist/). Usually this is where I put the spiel about how you need to [subscribe](https://see-saw.fun/#/portal/) for $4/month or $40/year or barter to access the weekly column. That’s usually the case, but this mega-abbreviated one’s free for everyone. If you want to get me something for my birthday, though, I’d love it if you [subscribed](https://see-saw.fun/#/portal/) to see/saw or bought someone in your life a [gift subscription](https://see-saw.fun/gift-subscription/). Think about it! Have a nice weekend. See you next time. --- **Home Front:** [***Watch It Die***](https://arewenothomefront.bandcamp.com/album/watch-it-die?ref=see-saw.fun) **\[La Vida Es Un Mus Discos\]** ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/11/a1604631729_10.jpg) --- **Tony Molina:** [***On This Day***](https://tonymolina650.bandcamp.com/album/on-this-day?ref=see-saw.fun) **\[Slumberland\]** [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/11/a0601460324_10.jpg)](https://tonymolina650.bandcamp.com/album/on-this-day?ref=see-saw.fun) --- **Glowing Orb:** [***World of Piss***](https://glowingorb.bandcamp.com/album/world-of-piss?ref=see-saw.fun) **\[self-released\]** [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/11/a3523275847_10.jpg)](https://glowingorb.bandcamp.com/album/world-of-piss?ref=see-saw.fun) --- **Smirk:** [**“Domestic Dog” b/w “Manhunt In Paradise”**](https://smirk1.bandcamp.com/album/domestic-dog-b-w-manhunt-in-paradise?ref=see-saw.fun) **\[Industry Standards\]** [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/11/a2658772902_10.jpg)](https://smirk1.bandcamp.com/album/domestic-dog-b-w-manhunt-in-paradise?ref=see-saw.fun) --- **Clickbait:** [**“Fish Fillet” b/w “Money”**](https://clickbaitspam.bandcamp.com/album/fish-fillet-money?ref=see-saw.fun) **\[self-released\]** [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/11/a2730682544_10.jpg)](https://clickbaitspam.bandcamp.com/album/fish-fillet-money?ref=see-saw.fun) --- **Industry:** [***Industry***](https://lavidaesunmus.bandcamp.com/album/s-t-34?ref=see-saw.fun) **\[La Vida Es Un Mus Discos\]** [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/11/a2500342612_10.jpg)](https://lavidaesunmus.bandcamp.com/album/s-t-34?ref=see-saw.fun) --- **Onyon:** [***Pale Horses***](https://mangelrecords.bandcamp.com/album/pale-horses?ref=see-saw.fun) **\[Mangel\]** [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/11/a1655403939_10.jpg)](https://mangelrecords.bandcamp.com/album/pale-horses?ref=see-saw.fun) --- **Maradeur:** [***Flaschenträger***](https://maraudeur.bandcamp.com/album/flaschentr-ger?ref=see-saw.fun) **\[Feel It\]** [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/11/a2763921353_10.jpg)](https://maraudeur.bandcamp.com/album/flaschentr-ger?ref=see-saw.fun) --- **Soft on Crime:** [***Noz Mat***](https://softoncrime.bandcamp.com/album/noz-mat-ep?ref=see-saw.fun) **\[self-released\]** [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/11/a0310449980_10.jpg)](https://softoncrime.bandcamp.com/album/noz-mat-ep?ref=see-saw.fun) --- **No Idols:** [***No Idols***](https://ironlungrecords.bandcamp.com/album/no-idols-lungs-305?ref=see-saw.fun) **\[Iron Lung\]** [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/11/a4218180240_10.jpg)](https://ironlungrecords.bandcamp.com/album/no-idols-lungs-305?ref=see-saw.fun) --- **Rat Art:** [***Rat Art***](https://ratart.bandcamp.com/album/rat-art?ref=see-saw.fun) **\[self-released\]** [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/11/a0437165295_10.jpg)](https://ratart.bandcamp.com/album/rat-art?ref=see-saw.fun) --- **Pen16:** [***Magic Touch***](https://deadbrokerekerds.bandcamp.com/album/magic-touch?ref=see-saw.fun) **\[Dead Broke\]** [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/11/a4208926217_10.jpg)](https://deadbrokerekerds.bandcamp.com/album/magic-touch?ref=see-saw.fun) --- **Casa Dragon:** [***No será para tanto***](https://folcrecords.bandcamp.com/album/folc292-casa-dragon-no-ser-para-tanto?utm%5Fsource=album%5Frelease&utm%5Fmedium=email&utm%5Fcontent=fanpub%5Ffnb&utm%5Fcampaign=folcrecords%2Balbum%2Bfolc292-casa-dragon-no-ser-para-tanto) **\[FOLC\]** [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/11/a3839435979_10.jpg)](https://folcrecords.bandcamp.com/album/folc292-casa-dragon-no-ser-para-tanto?ref=see-saw.fun) --- **Mini Skirt:** [***All That We Know***](https://miniskirt666.bandcamp.com/album/all-that-we-know?ref=see-saw.fun) **\[Mini Skirt/Bad Vibrations/Fuzz Club\]** [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/11/a0243887075_10.jpg)](https://miniskirt666.bandcamp.com/album/all-that-we-know?ref=see-saw.fun) --- **Laughing Corpse:** [***Beyond Recognition***](https://sorrystaterecords.bandcamp.com/album/beyond-recognition?ref=see-saw.fun)**\[Sorry State\]** [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/11/a1153931242_10.jpg)](https://sorrystaterecords.bandcamp.com/album/beyond-recognition?ref=see-saw.fun) --- **Blood Rite:** [***II: Second Rite of the Black Burning Nights***](https://bloodrite666.bandcamp.com/album/ii-second-rite-of-the-black-burning-nights?ref=see-saw.fun) **\[self-released\]** [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/11/a1224982957_10.jpg)](https://bloodrite666.bandcamp.com/album/ii-second-rite-of-the-black-burning-nights?ref=see-saw.fun) --- **80HD:** [***Orc Party***](https://ironlungrecords.bandcamp.com/album/orc-party-lungs-297?ref=see-saw.fun) **\[Iron Lung\]** [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/11/a1355517689_10.jpg)](https://ironlungrecords.bandcamp.com/album/orc-party-lungs-297?ref=see-saw.fun) --- **DE()T:** [***Welcome to the Idiot Factory***](https://sorrystaterecords.bandcamp.com/album/welcome-to-the-idiot-factory?ref=see-saw.fun) **\[Sorry State\]** [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/11/a0555696164_10.jpg)](https://sorrystaterecords.bandcamp.com/album/welcome-to-the-idiot-factory?ref=see-saw.fun) --- **Team Trust:** [***Treat Box***](https://teamtrust.bandcamp.com/album/treat-box?ref=see-saw.fun) **\[self-released\]** [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/11/a1141049257_10.jpg)](https://teamtrust.bandcamp.com/album/treat-box?ref=see-saw.fun) --- **Dick Move:** [***Dream, Believe, Achieve***](https://dickmove2.bandcamp.com/album/dream-believe-achieve?ref=see-saw.fun) **\[1:12\]** [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/11/a1573886875_10.jpg)](https://dickmove2.bandcamp.com/album/dream-believe-achieve?ref=see-saw.fun) --- **Adult Learners:** [***Demo 2025***](https://adultlearners.bandcamp.com/album/demo-2025?ref=see-saw.fun) **\[self-released\]** [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/11/a2302774088_10.jpg)](https://adultlearners.bandcamp.com/album/demo-2025?ref=see-saw.fun) --- **Kling Klang:** [***Half Life***](https://klingklang.bandcamp.com/album/half-life?ref=see-saw.fun) **\[Wrong Speed\]** [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/11/a0959645682_10.jpg)](https://klingklang.bandcamp.com/album/half-life?ref=see-saw.fun) --- **The WRS:** [***Zenith Drift***](https://thewirestheband.bandcamp.com/album/zenith-drift?ref=see-saw.fun) **\[Time Room/Rockerill/Mostä\]** [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/11/a0910410125_10.jpg)](https://thewirestheband.bandcamp.com/album/zenith-drift?ref=see-saw.fun) --- **The Spitters:** [***Fake Brutal***](https://howlinbananarecords.bandcamp.com/album/fake-brutal?ref=see-saw.fun) **\[Howlin Banana\]** [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/11/a3332733884_10.jpg)](https://howlinbananarecords.bandcamp.com/album/fake-brutal?ref=see-saw.fun) **Payphones:** [***Wrong Number***](https://mollendalrecords.bandcamp.com/album/wrong-number?ref=see-saw.fun) **\[Møllendal\]** [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/11/a3628625717_10.jpg)](https://mollendalrecords.bandcamp.com/album/wrong-number?ref=see-saw.fun) --- **Fashion Bathers:** [***III***](https://knucklesonstun.bandcamp.com/album/iii?ref=see-saw.fun) **\[Knuckles on Stun\]** [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/11/a3704098297_10.jpg)](https://knucklesonstun.bandcamp.com/album/iii?ref=see-saw.fun) --- **TRAUMA:** [***TRAUMA***](https://dirtbagdistro.bandcamp.com/album/trauma?ref=see-saw.fun) **\[Dirtbag Distro\]** [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/11/a2644993774_10.jpg)](https://dirtbagdistro.bandcamp.com/album/trauma?ref=see-saw.fun) --- **RIVAL:** [***Tercera Guerra Mundial***](https://rival4q.bandcamp.com/album/tercera-guerra-mundial-e-p?ref=see-saw.fun) **\[self-released\]** [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/11/a0676740351_10.jpg)](https://rival4q.bandcamp.com/album/tercera-guerra-mundial-e-p?ref=see-saw.fun) --- **What else:** [Negative Blast](https://negativeblast.bandcamp.com/album/destroy-myself-for-fun?utm%5Fsource=album%5Frelease&utm%5Fmedium=email&utm%5Fcontent=fanpub%5Ffb%5Fpr&utm%5Fcampaign=negativeblast%2Balbum%2Bdestroy-myself-for-fun), the [Power Pants and GLEEX split](https://powerpantsrock.bandcamp.com/album/tour-tape-25?ref=see-saw.fun), live [ARSE](https://arse.bandcamp.com/album/live-in-rotterdam?ref=see-saw.fun), [Half](https://halftheband.bandcamp.com/album/half-live-demo?ref=see-saw.fun), [Fun Control](https://lowerechelonrecords.bandcamp.com/album/test-run?ref=see-saw.fun), [Chained Bliss](https://chainedbliss.bandcamp.com/album/out-of-touch-ep?ref=see-saw.fun), [Backslash](https://poisonvisionrecords.bandcamp.com/album/demo?ref=see-saw.fun), [Luxury Apartments](https://luxuryapartments.bandcamp.com/track/life-behind-bars?ref=see-saw.fun), [Lower Receiver](https://designatedmoshersunit.bandcamp.com/album/dmu-025-lower-receiver-hardcore-2025?ref=see-saw.fun), [Los Turis](https://www.youtube.com/watch?v=FnS5X5n70%5FI&ref=see-saw.fun), [Walter Ego](https://walterego2.bandcamp.com/album/smoke-on-the-walter-ep?ref=see-saw.fun), [Sweet Reaper](https://sweetreaper69.bandcamp.com/track/motion?ref=see-saw.fun), [the Vouchers](https://thevouchersband.bandcamp.com/track/tollund-man-2?ref=see-saw.fun), [Ukulele Zombies](https://folcrecords.bandcamp.com/album/folc288-ukelele-zombies-desastre?ref=see-saw.fun), [Dr. Fang & the Bats](https://drfang.bandcamp.com/album/the-sound-of-one-wing-flapping?ref=see-saw.fun), [Motorists](https://motoristswearetime.bandcamp.com/track/cristobal?utm%5Fsource=track%5Frelease&utm%5Fmedium=email&utm%5Fcontent=fanpub%5Ffnb%5Ftrk&utm%5Fcampaign=motoristswearetime%2Btrack%2Bcristobal), [Zero](https://totalsupply.bandcamp.com/album/tsr-021-demo-ii?utm%5Fsource=album%5Frelease&utm%5Fmedium=email&utm%5Fcontent=fanpub%5Ffnb&utm%5Fcampaign=totalsupply%2Balbum%2Btsr-021-demo-ii), and [Divine Cargo](https://divinecargo.bandcamp.com/album/demo?ref=see-saw.fun). ### on deadline with optic sink URL: https://see-saw.fun/on-deadline-with-optic-sink/ Last updated: 2025-11-13T21:58:52.000Z It’s not name dropping when you’re in Memphis, huddled under the canopy of a poplar tree, in earshot of so-and-so’s set at the Overton Park Shell, to stop and mention it’s where Elvis Presley played his first concert on July 30, 1954\. It’s just a fact. Similarly it’s not boasting when I say I’m in a catcher’s stance, on assignment to interview [Optic Sink](https://opticsink.bandcamp.com/album/lucky-number?ref=see-saw.fun) (among the best bands in the country right now) whose members—Natalie Hoffmann, Ben Bausermeister and Keith Cooper—have kept this storied city poppin’ off and on the musical map with their bands Nots, Magic Kids, and the Sheiks. More facts. Lira Mondal and Caufield Schnug—of [Sweeping Promises](https://sweepingpromises.com/?ref=see-saw.fun) notoriety—invited Optic Sink to record 2023’s [*Glass Blocks*](https://opticsink.bandcamp.com/album/glass-blocks?ref=see-saw.fun) to their home studio in Lawrence, Kansas. The band returned to the couple’s studio for their latest album, [*Lucky Number*](https://opticsink.bandcamp.com/album/lucky-number?ref=see-saw.fun), released by Feel It Records on Halloween. Again, these are just facts. But hearing from the band about how a stalwart songsmith of Greg Cartwright’s caliber contributed to their songwriting process after taking an interest in the band is closer to a flex, and should rightfully impress. The proof of which is on this record, and will bring you to your feet. In recent years Cartwright returned to Memphis, where he first cut his teeth with the Painkillers (later rechristened the Compulsive Gamblers), Reigning Sound, and the Oblivians. Now he’s settled in more permanently, becoming bi-coastal (as he puts it) with his previous homebase in Ashville, North Carolina. Cartwright reconnected with local artists who were just coming up when he last moved away, including Hoffman. Cartwright signed on to produce the band’s album (and his production credits are indeed legendary), but family health matters kept him from joining their recording sessions in Lawrence. He was present for some fruitful rehearsals instead. “They were wide open and eager to hear what I thought about the songs and where I thought they might be able to go,” Cartwright told me over the phone. “That was just a joy. I think it’s their best record yet. It just felt like the best representation of everything they had played me in rehearsals and additions just made the songs even better. I was super proud of them.” Their producer Caufield Schnug echoed Cartwright’s feeling on the subject. “Working with Optic Sink is always a pleasure and we have built up a rhythm and shared humour. I like that they have a spontaneous and aleatoric punk band mentality, so they color outside the lines of their electronic grid. And they appeal to my film school roots insofar as Natalie is such a cinematic thinker, making lyrical and structural ‘scenes’ with her music, and as the recordist I'm trying to find how the light passes through. I'm proud of this one.” I didn’t do a damn thing but can’t help feeling a piece of Cartwright and Schnug’s pride in the band when I listen to *Lucky Number*. It’s the trio’s strongest and most exhilarating effort to date. Hearing these eight tightly wound, highly approachable, and immediately memorable tracks, it’s easy to submit to their electronic post-punk dominion as a whole. But how did the band get there? How did listeners get so lucky? While so many crawl toward creative meaning in the shadow of greater collapse, Optic Sink have managed to capture that unease while dragging it out onto the dancefloor with conviction and gusto. Earlier this fall, the band shared some more with me about their journey toward this current peak they’ve reached on their latest release. Our interview stretched from sometime in the golden hour and into the cover of night, plopped down on the hard park grounds where the king of rock’n’roll once took the stage. --- ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/11/By_Nate-Packard_OpticSink_Final_15.jpg) Optic Sink, photo by Nate Packard **How did Optic Sink form?** Natalie Hoffmann: Me and Ben started playing together in 2020, or 2019 maybe? I was learning how to play synths for Nots and I ended up writing a bunch of stuff and I was like, *Oh this is a different project.* So I reached out to Ben because he is an incredible electronic musician and drummer. So he started playing drum machines…or *machine*, at the time. Ben Bausermeister: The Volca Beats. Natalie: Yeah, the Volca Beats, because that’s all I had. **What is it?** Ben: It’s this little inexpensive Korg drum machine. It's sort of modeled after the 808\. It's an all-analog drum machine, but all the sounds are a little dinky. Natalie: It has kind of a toy vibe. Ben: Yeah it's trying to be an 808 so hard. It sounded cool though. I have a multi-effect box that I run it through. Fifty percent of the sound was the effects, and then the performance was tweaking 'em and all that. **So it was what you had, not necessarily the exact sound you were after?** Ben: Yeah, it was just what I had laying around, and then Natalie got the DrumBrute Impact and that was fun—that had pads on it. I could play those pads. And then I upgraded the Vulca Beats to a proper Barringer RD 08 or whatever they call it—808 clone. That sounds *really* good, and we just copied all the patterns over. Natalie: And then among all those machine upgrades, we wrote a song where I was playing guitar and I wrote the most basic bass line ever. We went over to record at the Bunker with our friend Keith, and we ended up asking him to join us because he had jumped on bass and it sounded so cool. Keith Cooper: The Bunker is me and Andrew McCalla's Analog Recording Studio. And it's a practice space for us and a couple other bands, but we also record there. There's no computer screens. It's all tape. It's behind a bar that was called Poplar Lounge. Jim Dandy would hang out there—just a watering hole. And the studio had been around for a while and then it became run down. McCalla found it, refurbished it. Now it's a fully functioning recording studio-slash-rehearsal space. It was pretty late and we'd been cooking for a while and it was just like, *Shit, I'll play.* Natalie: So we asked Keith to join Optic Sink and his first show was a Maya Deren live score. Keith: It was totally avant garde. They got asked to do these scores for these experimental films. And I don't know if I was officially in the band or this was like the beginning of the process or something. **Your audition?** Keith: Yeah. But it was totally freeform. We were like composing original ideas together in improv. We did that and then we played at a warehouse with this experimental sculptor, [Scott Carter.](https://www.scottacarter.com/?ref=see-saw.fun) He built these plants with contact mics. And every month he was having bands do improv jams and we got asked—or they got asked—and I was involved. It's like, *Alright, here's gig number two*. *Another freeform experimental noise thing.* Then I had to start learning the Optic Sink songs— Natalie: Which is a journey. Keith: Yeah, I was playing bass and Natalie's got the low-end synth. There’s a lot going on. I was trying to find a nice middle-register to fit in: growing together musically and rearranging everything sonically, adding this new instrument and new person into the mix. Natalie: The single on Spacecase Records came out where Keith played bass on both sides, and then he joined officially. We played a show with Sweeping Promises and this whole plan hatched to go record with them. And that's when we started writing songs for our second album, *Glass Blocks*. **Do you think meeting Sweeping Promises and having an opportunity to record with them accelerated the pace of the band?** Keith: It was big. Natalie: We set a deadline. I went to breakfast with Sweeping Promises and they were like, “We don't wanna be too pushy or anything, but we’d love to record y’all.”And I was like, “Too pushy? Please! It would be an honor. It’d be so much fun.” And we had all started hitting it off and becoming friends. And then I was looking at my calendar ‘cause I was working on a TV show at the time, and I was like, “OK, I can do it these weeks at the end of January.” Keith: We played with them in, like August or July? Natalie: It was a quick turnaround. We had this deadline and we all started practicing together every week and wrote these songs for *Glass Blocks*. We also finished three of them in the studio. “Modelesque” was pretty much figured out in the studio. Ben: It’s important to have time to do that. Not over prep or whatever. Keith: We left Memphis and went to their home studio in Lawrence. It was snowing and it was three in the morning and the portal opened and we just locked in and this fully fledged song came out. Natalie: We stayed at their house, recorded there, we did this real deep dive into recording for 10 days. Keith: We didn’t know anybody there, and it was just extremely cold. And that was the idea—we want to go there so we don’t have anybody hollering and distracting us from what we need to do. **Did you know that you wanted to tour on the record?** Natalie: Hell yeah. I could tour all the time. I love touring. Ben: I do love it. Yeah. Keith: I love touring. I love driving. I love rocking. Yeah. I mean all three of us, we’ve been in a ton of bands and we’ve been in bands with more members and now we’re just a three piece. We got a really nice chemistry. We know the game, so it’s this really nice formula. Other than your classic ups and downs, rough gigs, we have a good time. I love touring. Ben: I love touring too, it’s just that I have a kid so I can’t always be gone, but being on the road is the number one favorite thing to do. For sure. **I think it’s okay to not like touring but it is awesome, maybe rare even, that everybody’s on the same page.** Ben: I would not like it if I was in a band with people that I didn't like. And luckily for me, Keith and Natalie are the best people ever. Natalie: Aw. Ben: Like, I like you. I like both of you. Keith: Thank you. Ben: Fun people to tour with, that makes the difference. **How has booking been—finding shows you want to play with a new project?** Natalie: I started doing this radio show called [Strange Wave on WYXR](https://wyxr.org/strange-wave/?ref=see-saw.fun) here in Memphis, and I could easily play only stuff from like the late ’70s or early ’80s, but eventually I was like, *I need a good excuse to research new bands, like, constantly.* I like doing that and I like knowing what's going on, so I started trying to make sure there was a good chunk of new bands on the radio show. And that honestly has helped me to know who to hit up in different cities, who I already like and would love to play with. We book bands’ shows here in Memphis, so we kind of know the way that it's probably gonna go in another city, too. **Between enjoying your time on the road, doing radio, and booking shows, when did you get around to writing and recording your new album, *Lucky Number*?** Natalie: We did the deadline thing again. I love the deadline. We set another date with Sleeping Promises and we all were like, *All right, that’s when we go record. So we have to have eight songs done.* Man, and some of those songs we've been writing for a really long time. “Construction” I feel like has been with us forever. But it’s evolved a bunch. I would bring in an idea, me and Keith would work up some melodies. We would all work together in the studio in our practice space, and we started fleshing it out. We also called in some big guns at the end. Keith: Around the same time, Greg Cartwright moved back to Memphis and got reintegrated into the musical community here. Natalie developed a friendship with Greg through WYXR radio, and he pretty much offered his services as a producer. Natalie: He didn't end up being a total producer on it because he had some family stuff. The original plan was for him to come to Lawrence with us. The idea of Greg meeting Caufield and Lira warms my heart. That would just be so wonderful. Keith: More bridge building. Natalie: They're all such wonderful people, open to collaboration, and writing amazing songs. So I just feel stoked to be hanging out with all of ’em. But yeah, Greg couldn't come with us, but he did come to a couple of our practices. The song “Lucky Number” specifically—all the parts were there, but Greg was super helpful with subtle edits that, in my opinion, helped the song completely click. Keith: Yeah he waved a magic wand and added an outside opinion. Ben: Some structure stuff. Keith: The guy’s a master craftsman. Natalie: “Lucky Number” was interesting because we could have released exactly what we’d written, but Greg's touch was so brilliant. He was like, “What if the guitar just drops out there?” That kind of thing, when you get too close to it, you’re like, *I’m always playing guitar. It never drops out.* You’re just on and don’t think of that. Keith: “On this lick, why don't you end it on the octave instead of the same lick four times?” Stuff like that you forget about when you’re so close to your own tune. Natalie: He hung out with us for a practice while we were working on “Construction” and he had some really good, really smart edits to something that all of us had gotten so close to that we couldn't even think about it straight anymore. We’re like, *Is this even a song? Should we just get rid of the whole thing?* Keith: He would come in and he would just sit and we would play. He was just like vapor. We wouldn't notice he was in the room. We were just doing our thing. He sat at the drum kit and he had a guitar so he was learning the stuff so he’d know what we're working with and manipulate it and mess with it. Natalie: His approach was so cool 'cause he did not come in being like, *Alright, I’m gonna fix these songs.* He’s Greg Cartwright. He’s one of the best songwriters ever. Keith: It wasn’t heavy handed. Natalie: It wasn’t, but it was so perfect. It was like he got us to do stuff that was smart and made the song just click together and hit so much better. It was truly amazing. Keith: Now it’s just like formulas that you can apply forever, you know? It’s songwriting practice techniques. Ben: He also wrote a whole beat on “Lucky Number” that has a different kick pattern and one big snare. He zhuzhed that one up for sure. **In addition to deadlines it seems like you’ve been receptive to positive reinforcement making these albums.** Keith: First round, Lira and Caulfield were the positive reinforcement, and then this next round we know we got them and we got a great spot, and then Greg came along. All these people came into the fold and supported our ideas. Natalie: We got lucky in a lot of ways, but also it’s just cool to be in Memphis with these legends like Greg. He is open to—and wants to—collaborate with different musicians and see what they’re up to. Same with Caufield and Lira. Their antennas are up. **Does that support lead to pushing yourselves more?** Natalie: Hell yeah. My lyrics. I remember sitting down and being like, *I’m not gonna show Greg some slop.* *I* *wanna be stoked about my lyrics.* Not that I'm half-assing stuff usually, but it’s another level when you’re showing someone else, especially someone who you’re like, *Wow, I really respect this person’s songwriting. I’m not trying to slack off anywhere.* Keith: It made us feel like, *Well, we gotta be our best selves and bring it all to the table.* Natalie: It helped gel. Some of the hardest parts about being in a band are getting your schedules together. This record had a cool vibe because the three of us would all meet up and then sometimes I would work on stuff at home. Sometimes me and Keith would meet up to iron out melodic parts, that way we could show Ben so he could write the percussion and beats. Then Greg was coming in for a couple of practices, so it expanded everything. We had to meet this deadline, so we were like, *However we can meet up and do this thing, let's do it.* Keith: We had to log in hours, no matter. It was dedicated. Natalie: And that’s what changed the songs. That’s what develops them melodically. **Did it feel like pressure or was it good pressure?** Keith: Good pressure. Motivating, you know? Natalie: Definitely some pressure, but— Keith: But not like freak out or anything, it just gave us drive. But it was the deadline formula that you can't escape from. Everybody else has the date set. There‘s other people waiting for you. If we canceled, you’re screwing somebody else over on their job. Natalie: I need a deadline. I just won’t do anything if I don’t have a deadline. I’ll just go into oblivion and be like, I’ll play guitar tomorrow. Or I’ll play guitar but it’ll be loose and unfocused and I’ll write a million beginnings to songs and then forget about them. So having a deadline is a good excuse for me personally, to be organized and go back and actually try to craft some songs. ![Optic Sink perform at Gonerfest 22, photo by Tim Abbondelo](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/11/optic-sink-ti.jpg) Optic Sink perform at Gonerfest 22, photo by Tim Abbondelo **Musicians can be kind of territorial or competitive. It’s cool and seems almost rare how they approached you because they liked your band.** Keith: I think forming alliances is much more valuable. Natalie: Caufield and Lira really liked our first record—a huge honor. I hear what you’re saying but didn’t feel that at all from them. They just wanted to support something they were stoked about. Ben: Those types of folks are certainly out there. Natalie: Oh yeah. **Back to the first time you all performed together live, huh? It all comes full circle. I’ve never seen those films and don’t know anything about her.** Natalie: Maya Deren is this experimental avant garde filmmaker from the ’40s, like, doing her thing. She was a dancer, filmmaker, choreographer and all of that is very evident in her extremely poetic, really cool films. She influenced David Lynch and Stan Brahkage but not a lot of people know about her. We got asked to do a live score to her films by Downtown Arts here in Memphis. We wrote a whole score for five short films, and it was completely different from our music. It was our same instrumentation, but we didn't just go play songs from our first record over her films. **Was it improvised?** Keith: We were at the Bunker and we just watched and played along with it and then we'd find themes and hooks and stuff and build it along that. Natalie: Yeah, it was really collaborative. Very textural. Ben: It’s timeless. When you watch it, it’s just like super sick art, it doesn’t matter when it happens, it has the same feeling. **Where can I see it?** Natalie: Maya Deren’s films are available. There’s DVDs and stuff on YouTube and all that. As far as our score, [Machine Duplications Recordings](https://machineduplicationrecordings.bandcamp.com/merch/optic-sink-the-films-of-maya-deren-vhs?ref=see-saw.fun) and Zach Mitchell released a VHS a couple of days ago. **Any talk of doing it as a record?** Natalie: That would be amazing. Keith: We talked about it since we redid it for University of Mississippi and relearned the songs and the movements and stuff. And then that’s where it dawned on us: If we go on tour, we got this whole two-pronged thing of doing this at theaters. **Sounds like a deadline.** Natalie: It’s a goal. And it’s a goal to tour on it more. So we’re thinking about our East Coast tour this spring, doing the live score one night and then the next night we do a club show. I would love to spend two days in cities. I’ve never been able to do that on tour. I feel like I’ve toured so much and glazed through all these cities. It would be so nice. Keith: Yeah and tapping into the arts community from a completely different angle. Natalie: It’s been really cool, seeing the overlap and meeting new people through doing that. Keith: We knocked our big daddy deadlines out of the way, now we gotta book a tour. That’s the next deadline. --- [Listen to Natalie Hoffmann’s episode of see/saw jukebox!](https://see-saw.fun/see-saw-jukebox-02-natalie-hoffmann-optic-sink-nots/) *see/saw is a reader-supported punk publication with no advertisements or investors. If you enjoyed this article, please share and* [*subscribe*](https://see-saw.fun/#/portal/)*!* ### punk this week podcast 58: squint + total sham URL: https://see-saw.fun/punk-this-week-podcast-58-squint-total-sham/ Last updated: 2025-11-11T20:35:04.000Z [Punk This Week](https://see-saw.fun/tag/podcast/) *is see/saw’s free weekly podcast from co-hosts Evan Minsker and Nina Corcoran—a discussion of the latest and greatest in the world of punk rock. We talk about six new punk records we’re loving from the past week.* The same weekend Nina acquired her Blu-ray grail and Evan noted the conundrum of Twix’s load-bearing cookie when the flavor is snickerdoodle, our hosts got together to discuss burp rock, the best Smiths song, and new records by [Squint](https://squintstl.bandcamp.com/album/drag?ref=see-saw.fun), [Total Sham](https://totalsham.bandcamp.com/album/redline?utm%5Fsource=album%5Frelease&utm%5Fmedium=email&utm%5Fcontent=fanpub%5Ffnb&utm%5Fcampaign=totalsham%2Balbum%2Bredline), [Pigeon Pit](https://pigeonpit.bandcamp.com/album/leash-aggression?ref=see-saw.fun), [Wiccans](https://wiccanspunk.bandcamp.com/album/phase-iv?ref=see-saw.fun), [Strange Passage](https://strangepassage.bandcamp.com/album/a-folded-sky?ref=see-saw.fun), and [Pill Mill](https://slow-death-records.bandcamp.com/album/pill-mill-s-t-e-p?utm%5Fsource=album%5Frelease&utm%5Fmedium=email&utm%5Fcontent=fanpub%5Ffnb&utm%5Fcampaign=slow-death-records%2Balbum%2Bpill-mill-s-t-e-p). --- Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.fun). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/see%5Fsaw.fun/?ref=see-saw.fun) and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). Have a question you’d like to hear addressed on the show? Want to talk about a new record we didn’t discuss? Want to send a HARD PIVOT or NO AMERICANS bumper? Join us on the see/saw [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun) or email us: [see-saw@see-saw.fun](mailto:see-saw@see-saw.fun). *Punk This Week* is made possible by see/saw subscribers; please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-57-puppet-wipes-blue-zero/#/portal/) if you enjoy this podcast. You’ll learn about way more punk records than we can pack into the pod! ### punk this week: wiccans, pigeon pit, cosmic psychos + 15 more URL: https://see-saw.fun/punk-this-week-wiccans-pigeon-pit-cosmic-psychos-15-more/ Last updated: 2025-11-08T01:27:21.000Z Hey, it’s [Punk This Week](https://see-saw.fun/tag/punk-this-week/), see/saw’s weekly punk and rock'n'roll recommendations column. This time we’ve got the return of Austin’s Wiccans, a surprise drop from pigeon pit, an ode to beer from Aussie pub rock legends Cosmic Psychos, an unearthed and exceptional live album from Teengenerate, and more incredible punk records from around the world. Here’s the deal: This [weekly column](https://see-saw.fun/tag/punk-this-week/), [bonus podcasts](https://see-saw.fun/tag/jukebox/), and the always updating [see/saw radio archive](https://see-saw.fun/see-saw-radio/) is available for people who [subscribe](https://see-saw.fun/punk-this-week-optic-sink-puppet-wipes-radioactivity-14-more/#/portal/) for $4/month, $40/year, or [barter](https://see-saw.fun/bartering/) (aka pay what you want, just hit me up). You get plenty of stuff on the free subscription tier, but the only way this uncompromising independent music writing operation survives in the long-term is with the support of readers like you. Please consider kicking over a few bucks to support the mission. Now go find a new record to obsess over. 👇 --- **Wiccans:** [***Phase IV***](https://wiccanspunk.bandcamp.com/album/phase-iv?ref=see-saw.fun) **\[Unlawful Assembly/Drunken Sailor\]** The return of Wiccans is one of punk’s best surprises of the year. The Austin rippers’ last album arrived eight years ago, and the new one arrives with a bulldozing clarity. It’s a hardcore record with bite and churn delivered via production that makes the vocals clear and the guitars crisp. Their recording approach is somewhat unexpected for a record that leans more heavy on beef than flash (though there are plenty of superb licks up in this). “Belly of the Beast” exemplifies its burl, while the doubled-up harmonic guitars on “Prison Planet Bios-4” give a glimpse into their more ambitious and borderline prog impulses. It’s heavy shit that’s as thundering as it is dexterous—where you can really hear the human beings behind it while they weave a fantastical yarn. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/11/a1433370197_10.jpg)](https://wiccanspunk.bandcamp.com/album/phase-iv?ref=see-saw.fun) _This post is for paying subscribers only._ ### punk this week podcast 57: puppet wipes + blue zero URL: https://see-saw.fun/punk-this-week-podcast-57-puppet-wipes-blue-zero/ Last updated: 2025-11-04T20:43:49.000Z [Punk This Week](https://see-saw.fun/tag/podcast/) *is see/saw’s free weekly podcast from co-hosts Evan Minsker and Nina Corcoran—a discussion of the latest and greatest in the world of punk rock. We talk about six new punk records we’re loving from the past week.* We’re talking about Halloween, we’re talking about seeing [Count Spookula](https://countspookula.bandcamp.com/track/oh-fuck-its-a-monster?ref=see-saw.fun) at Rash Fest, and we’re shaming a very specific person who thought Kirby was a Pokémon. It’s a massive week with new records from [Puppet Wipes](https://siltbreeze.bandcamp.com/album/puppet-wipes-live-inside?ref=see-saw.fun), [Blue Zero](https://bluezero.bandcamp.com/album/confusion-ep?ref=see-saw.fun), [Optic Sink](https://see-saw.fun/playlist-the-best-punk-songs-of-october-2025/), [Gumm](https://convulserecords.bandcamp.com/album/beneath-the-wheel?ref=see-saw.fun), [Radioactivity](https://dirtnaprecords.bandcamp.com/album/radioactivity-time-wont-bring-me-down?ref=see-saw.fun), and [Abism](https://toxicstaterecords.bandcamp.com/track/barbie-terminator?ref=see-saw.fun). --- Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.fun). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/see%5Fsaw.fun/?ref=see-saw.fun) and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). Have a question you’d like to hear addressed on the show? Want to talk about a new record we didn’t discuss? Want to send a HARD PIVOT or NO AMERICANS bumper? Join us on the see/saw [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun) or email us: [see-saw@see-saw.fun](mailto:see-saw@see-saw.fun). *Punk This Week* is made possible by see/saw subscribers; please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-56-sprgrs-buio-omega/#/portal/) if you enjoy this podcast. You’ll learn about way more punk records than we can pack into the pod! ### playlist: the best punk songs of october 2025 URL: https://see-saw.fun/playlist-the-best-punk-songs-of-october-2025/ Last updated: 2025-11-03T22:17:38.000Z It’s been a minute since I’ve done one of these playlist blogs that takes a transparent look at see/saw’s status as a newsletter. Here ya go: At publication time, there are 2,754 total subscribers with 558 of those behind the paywall (both through payment and bartering). The money that comes in—which accounts for less than a quarter of my old full-time salary at Pitchfork—is a supplement to the paycheck I get from a freelance corporate contract job that wraps up in a couple months. While it’s aspirational to hope that one day my punk blog can find more people and become the main thing I chase and focus on—and I’m about halfway to that being close to possible—community matters more than the money and metrics. In the past month, a dude walked up to me and told me how much he loves listening to my radio show. Another told me I’m the only reason he checks his email. I’ve heard from artists I respect a huge amount who’ve said that this thing that I do means something to them. That fills the cup more than cash. The reason see/saw exists is because it’s something I desperately wanted to see in the world. That’s why I spend too long on Fridays writing a column about new records, record and edit a weekly podcast (plus bonus episodes), curate a weekly radio show, present shows, and make zines (2025 best punk records broadsheet coming soon). I love this music and all I’ve ever wanted to do was write about it. Doing it on my terms is a genuine pleasure. I’m fully aware that I could burn out and this thing could go away forever like countless punk zines and blogs before it. For now, though, I’ve got to chase it while I still bleed for it. Thanks to everyone who reads the [column](https://see-saw.fun/tag/punk-this-week/) [and](https://see-saw.fun/nycs-bread-roses-fest-was-a-diy-utopia/) [features](https://see-saw.fun/tag/interview/), [puts up flyers](https://www.dropbox.com/scl/fi/q9dsee0gyaqeh4emf96ez/See-Saw-Final.pdf?rlkey=o2ex7kdb1l9zoddhzz8m5yld5&st=ez736ej6&dl=0&ref=see-saw.fun), listens to the [podcast](https://see-saw.fun/tag/podcast/) and [radio show](https://see-saw.fun/see-saw-radio/), hangs out in the [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun), and reaches out. [Subscribe](https://see-saw.fun/#/portal/) if you haven’t. If you’re not behind the paywall, let’s [barter](https://see-saw.fun/bartering/)—hit me up! I’d like as many people as possible to be able to read this stuff I write. October was an unreal month for punk music. Find the playlist embedded in a browser below, or listen [here](https://www.buymusic.club/list/seesaw-best-punk-of-october-2025?ref=see-saw.fun). Shout out the Etters, who aren’t on Bandcamp. --- [**the best punk songs of 2025**](https://www.buymusic.club/list/seesaw-best-punk-of-october-2025?ref=see-saw.fun) Twisted Teens: Graveyard Puppet Wipes: The Unabomber Used to Come and Dance at Events Optic Sink: Laughing Backwards Blue Zero: Confusion Split System: No Cops in Heaven Abism: Barbie Terminator SOOKS: Ta, Riff BUIO OMEGA: Secret Fantasy Shakti: Maut Brainbombs: Midnight Slaughter Snooper: Star 6\*9 Butter Swamp: i see dead people Larry & Thee Jerrys: Mulva (I Can’t Remember Your Name) NC Five: Haine Citric Dummies: I Can’t Relate SOGA: Posesión Pack Mentality: Fags Hate God Baby Tyler: Good Motivator kotskat: Club Mate Blues Dorothy Fuzz: What Kind of Man Are You sprgrs: turbokapital No Time: State Execution Lowballer: Volvo 240 Wagon Imploders: Who Am I? Greg Wheeler & the Poly Mall Cops: You Make Me Spin Itches: Fake Smile Rearranged Face: The Witch’s Head The Smarthearts: One on One Angel Face: Leave Tonight Gumm: Flavorless Sisteme de entretenimiento: No me gusta la realidad Gare du Nord: Vrille Teenage Tom Petties: Faculty Why Bother?: I Take Back Sweepers: I Sweep Myself Replica Watch: A Thousand Cuts The Seize: Can’t Stand Today Quarrel: Terf War Liquid Cross: Throwing Dogs Geo: Slijm S.O.C.: Dues Liiek: Living in a Fiction UZU أوزو: La tass’alni لا تسألني Destiny Bond: Lookin’ for a Fight / Done Lookin’ loitering: Trash The Social: The Scum Duel: Cost of Living Direct Order '82: I Hate Church Psico Galera: Imperfetto, sii Imperfetto Endless Joy: Prayer Rule Yellow Ghoul: Rule of Law Party Dozen: Mad Rooter TV Freaks: More Love Speed Week: Weak Speed Toys That Kill: The Cutting Board Movie Star Junkies: Give Everything Up Big Modern: Drink From Me Radioactivity: Watch Me Bleed BATBAIT: Boys Club Watermelon: Existential Crisis Upchuck: Pressure Cheap Fix: Soul Tune Hot Load: No Streets Rowdy: Full Figured Touch BRUX: Sense Sou i Sense Casa Krein’s Low-Budget Death Extravaganza: I Think I’m in Love Burning Effigy: Remember My Face Blood Cannery: Virginia Snörkler: Jazzy Jeff EZ8: Right Behind You The Boojums: Outta My Head Holly and the Nice Lions: Husband Stitch G.A.Z.E: 1000 Nightmares Active Service: Small Arms Disaster Preparations: The Secret Sklitakling: Rødt farenivå Tuff Guac: I Can’t Whisper H8 Mile: Sex Bomb (Flipper cover) Teenage Cenobite: Men From the Gutter Ack Attack: Boutta Ack Up saafewaay: Rock Lobstar In Lieu: Christian Singles HIBUSHIBIRE: Snow Sniffing Matador Funeral: Black Gonies: Jonies Sonic Youth of Today: Paraíso prometido Highway Ghost: Under Your Skin TVA: Rifle Garden of Love: Silly Rules Power Pants: You Drive Me Crazy Hyperdog: Depressed Glueman: Can’t Get High Dru the Drifter: Don’t Set Me on Fire Jane & the Jaguars: Poking Holes Spleens: I’m Just a Corpse Now xray xeroxx: Social Media Made Me Hate My Friends snarewaves: Frankenstein Intel: Unorthodox Civilian Persona PERSETAN!: API DALAM SEKAM Gold Cup: Early Bird Special Cold Summer: Grau D.Sablu: Mama’s Little Elvis Segundos Auxiolios: Tac! Waylon Thornton: Gaunt Eyes Selfish Teammate: (God) I’ve Done It Again HACK!HACK!HACK!: COCKSTARS HIGH STRESS: OUTTA MY HEAD Dry Socket: Shame Convictions Chien Flic: Cut Your Balls ta2reeban: استفراغ Slug: Your Life, Your Fault Vampire: Human Market Capital Bar Tape: Playing Drunk Total Con: Against the Order Sick of Talk: True Identity Brawliday Inn: Army of Beasts Stunted Youth: Fuck No FLUX: Sharpened Teeth Memory Ward: Social Order Rigorous Institution: Regime Forces SPEKTA: Crimson Tears Traumatizer: Nuclear War Machine Yellowcake: Apparitions of War Nohz: Collapsed Shishu: Gestated Shit ### punk this week: optic sink, puppet wipes, radioactivity + 14 more URL: https://see-saw.fun/punk-this-week-optic-sink-puppet-wipes-radioactivity-14-more/ Last updated: 2025-10-31T20:06:20.000Z Hey, it’s a very special Halloween edition of [Punk This Week](https://see-saw.fun/tag/punk-this-week/) (a weekly recommendations column). Are you scared? Don’t be scared. I didn’t hide any razorblades or drugs in the newsletter. It’s all treats this time with new records from Optic Sink, Puppet Wipes, Radioactivity, Dorothy Fuzz, Retail Simps, Snörkler, Abism, the Boojums, and more. It’s been a genuinely outstanding month for punk music. If you want weekly punk recommendations in your inbox, including this column right here, you have to [subscribe](https://see-saw.fun/punk-this-week-the-smarthearts-buio-omega-brainbombs-25-more/#/portal/) and get behind the paywall. It’s $4/month or $40/year or [barter](https://see-saw.fun/bartering/) (hit me up). In addition to the [weekly column](https://see-saw.fun/tag/punk-this-week/), you get [bonus podcasts](https://see-saw.fun/tag/jukebox/) and the full [see/saw radio](https://see-saw.fun/see-saw-radio/) archive of over 50 episodes. Would you like to support fully independent rock'n'roll journalism and criticism? I’ve got no advertisers, no investors, and no corporations telling me what to do. (We used to have Johnny Cash, Bob Hope, and Steve Jobs.) I need the support of readers like you. Thanks for considering, thanks for reading, and happy Halloween. --- **Optic Sink:** [***Lucky Number***](https://opticsink.bandcamp.com/album/lucky-number?ref=see-saw.fun) **\[Feel It\]** [Natalie Hoffmann](https://see-saw.fun/see-saw-jukebox-02-natalie-hoffmann-optic-sink-nots/) should be in an impossible position just over a decade after the unstoppable first Nots album, and yet Optic Sink’s *Lucky Number* is in the conversation for the best record the Memphis punk hero has ever made. Joined by bandmates Ben Bauermeister and Keith Cooper, the trio recorded the new album with Sweeping Promises’ Caufield Schnug and Lira Mondal at their home studio in Lawrence, Kansas. The result is the absolute best sort of post-punk album—one that’s completely defined by groove. *Lucky Number* is all momentum and drive, but behind the record’s danceability simmers an inherent sense of depression and anger and defeat. “Kinetic World” is the album’s dusk—one of the best examples of their balance of warmth (the music) and coldness (Hoffmann’s voice and lyrics). It closes with “Luxury of Honesty,” maybe their most ambitious song—one that starts minimal and expands out into something massive. For an album that plays out gradually, there’s never a dull moment or a skip. This is tears in the club music, but it’s the club that blasts the Normal and early Depeche Mode. Play it in full, play it loud. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/10/a0804491957_10.jpg)](https://opticsink.bandcamp.com/album/lucky-number?ref=see-saw.fun) _This post is for paying subscribers only._ ### punk this week podcast 56: sprgrs + buio omega URL: https://see-saw.fun/punk-this-week-podcast-56-sprgrs-buio-omega/ Last updated: 2025-10-28T15:57:37.000Z [Punk This Week](https://see-saw.fun/tag/podcast/) *is see/saw’s free weekly podcast from co-hosts Evan Minsker and Nina Corcoran—a discussion of the latest and greatest in the world of punk rock. We talk about six new punk records we’re loving from the past week.* With a song in our hearts and a plan to meet at the National Mustard Museum, Evan and Nina discuss new records from [sprgrs](https://sprgrs.bandcamp.com/album/pol-gono-industrial?ref=see-saw.fun), [BUIO OMEGA](https://buioomega69.bandcamp.com/album/on-the-prowl?ref=see-saw.fun), [Liquid Cross](https://strangemono.bandcamp.com/album/dont-think-ep?ref=see-saw.fun), [Kid Congo Powers and Naim Amor](https://kidcongonaimamor.bandcamp.com/album/tuscon-safari?ref=see-saw.fun), [UZU](https://uzupunk.bandcamp.com/album/a-qui-la-libert?ref=see-saw.fun), and [No Time](https://notimepgh.bandcamp.com/album/comply-or-die?ref=see-saw.fun). Shout out [Greg Wheeler and the Poly Mall Cops](https://polymallcops.bandcamp.com/album/slimephone-surveillance?ref=see-saw.fun), [kotskat](https://kotskat.bandcamp.com/album/flowers?ref=see-saw.fun), [the Smarthearts](https://thesmarthearts.bandcamp.com/album/not-forgotten?ref=see-saw.fun), and [Brainbombs](https://riotseasonrecords.bandcamp.com/album/die?ref=see-saw.fun)’ new records, too. --- Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.fun). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/see%5Fsaw.fun/?ref=see-saw.fun) and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). Have a question you’d like to hear addressed on the show? Want to talk about a new record we didn’t discuss? Want to send a HARD PIVOT or NO AMERICANS bumper? Join us on the see/saw [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun) or email us: [see-saw@see-saw.fun](mailto:see-saw@see-saw.fun). *Punk This Week* is made possible by see/saw subscribers; please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-55-citric-dummies-good-luck/#/portal/) if you enjoy this podcast. You’ll learn about way more punk records than we can pack into the pod! ### baby tyler uncompromisingly pursues his dreams URL: https://see-saw.fun/baby-tyler-uncompromisingly-pursues-his-dreams/ Last updated: 2025-10-27T17:13:15.000Z [*Sucker With A Dream*](https://nightbellrecords.bandcamp.com/album/sucker-with-a-dream?ref=see-saw.fun), the fifth solo album from [Baby Tyler](https://tsbbty.bandcamp.com/?ref=see-saw.fun), is the 36th (if I counted correctly) overall release Madison’s Tyler Fassnacht has been involved in across just 11 years. Between [Fire Heads](https://fireheads.bandcamp.com/?search%5Fitem%5Fid%3D2345655441%26search%5Fitem%5Ftype%3Db%26search%5Fmatch%5Fpart%3D%253F%26search%5Fpage%5Fid%3D4780440625%26search%5Fpage%5Fno%3D0%26search%5Frank%3D2=&ref=see-saw.fun), [the Hussy](https://thehussy.bandcamp.com/album/looming?ref=see-saw.fun), TS Foss, [Proud Parents](https://proudparentsband.bandcamp.com/album/proud-parents?ref=see-saw.fun), [Celebrity Sighting](https://nightbellrecords.bandcamp.com/album/theyre-just-like-us?ref=see-saw.fun), [Heather the Jerk](https://heatherthejerk.bandcamp.com/?ref=see-saw.fun), and the titular Baby Tyler, Fassnacht has stayed busy making some of the best underground punk, indie, and folk music in the Midwest. Fassnacht usually records the Baby Tyler records alone at home, a holdover from when the pandemic forced musicians inside and made them work with whatever they could cobble together. In Tyler’s case, that was a $9 drum machine app and guitars pushed to their maximum volume recorded directly into his laptop. *Sucker With A Dream* is a departure from this tried and true process–Fassnacht teamed with Madison-based utility player and engineer Graham Hunt (a one-time member of the full Baby Tyler Band) to create the highest fidelity Baby Tyler album yet. It’s also the last solo Baby Tyler album, which isn’t totally disappointing for those of us who heard 2024’s [*Baby Tyler Band*](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun) album. I sat down with Fassnacht in the middle of a hectic Gonerfest weekend, a seemingly rare moment where he’s just a fan and not on the grind. I wanted to chat with him not just about *Sucker With A Dream*—arguably his strongest dispatch as a solo artist—but about his entire life in the wild world of DIY music. One of the most consistent themes throughout the record is a look in the rearview mirror at the successes and disappointments of a decade-plus in the trenches, so we started from the beginning and charted a course through his lengthy discography. --- **Was Fire Heads your first band or just the first band of note?** Probably the first band of note. I had a band before that I started in high school with my best friend C \[Nelson-Lifson\], who I did Proud Parents with. Not that super serious of a band, but through that band, I would meet the people who would be in Fire Heads, and that was the first band of note that did serious touring. **How did Fire Heads actually get started?** It was me and this buddy Alex Ross. We started this blown-out punk project after we got obsessed with The Coachwhips. It expanded to a four piece lineup and we kept touring and recording. **Walk me through the timeline a little bit. Was Proud Parents concurrent with Fire Heads?** Fire Heads started in 2012 and Proud Parents started in 2014\. Around that time, me and C started Proud Parents and we both were writing songs. That band started with our obsession with the Babies—the idea of two primary songwriters both singing their own songs and supporting the other person on their songs. We were hanging out with Heather \[Sawyer\] and got her to drum on it. She’s the best pop-rock songwriter in the Midwest, arguably, so she was just like “can I write songs too?” and we were like “of course!” That band was so much fun and so much easier \[than Fire Heads\] because I didn’t have to do the work myself. Everyone brought their own ideas to the table and we could bounce off each other. **If I’m considering your discography on the whole, Proud Parents leans more on the indie side of things rather than a straight up and down punk side of things. It coincided with the wave of indie/punk crossover stuff happening in the early ’10s. Were you influenced by that?** We all just loved pop and garage pop stuff—melodies and things that were a little janglier. For the first couple years of that band, I refused to use any overdrive or distortion on my guitar. **Were you just sick of it from Fire Heads?** Yeah, I was just like “it’s gonna be clean, the treble is gonna be high, and it’s gonna be brutal.” It sounded much better once I started using a Blues Driver \[overdrive pedal\]. ![Proud Parents at Shitty Barn, photo by Adam Bubolz (courtesy Tyler Fassnacht)](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/10/proud-parents-shitty-barn--Adam-Bubolz-.jpg) Proud Parents at Shitty Barn, photo by Adam Bubolz (courtesy Tyler Fassnacht) **Proud Parents makes me think a lot about that quote from Martin from Soup Activists, where he** [**implied that punks always want to start indie projects**](https://see-saw.fun/soup-activists-martin-meyer-on-the-new-album-and-life-after-lumpy/)**. Does that resonate with you?** For sure. A lot of punk artists who are making punk music just love music so much. You’re telling me all of these curmudgeons hate melody? No, they love it. Everyone wants candy every once in a while. Writing a great pop song feels so good. After a while, some punks start building up these ideas and side projects that maybe aren’t as tough or cool. **I feel like you’re the paragon of that to a certain degree.** \[*laughs*\] It’s true. It’s so funny, one of the first solo TS Foss tours I went on was really hard for me to book because I only had punk connections. I was hitting up all these punks and being like “I have this twangy, solo folk thing and I’m trying to play living rooms. Do you know anyone who can help out?” So many people were like, “I’ve got a couple songs I’ve been working on acoustic. Maybe I could play on the show too.” It’s like, oh, you’ve also been secretly wanting to make songs on your acoustic guitar but you haven’t had the opportunity or confidence to whip it out. **Do you think it’s because people are scared?** I think so. I was scared. **When did TS Foss actually start?** I think I started messing around with it in 2014\. The beginning of the project was concurrent with Fire Heads and Proud Parents. I used to work at the Madison’s Children Museum. I was designing educational programming to happen in the exhibit spaces. We had an old 1800s log cabin that had been restored and moved onto the premises. It was an exhibit on what pioneer life was like. Me and a coworker who could play banjo started this program where we were playing old traditional folk songs in it for kids. I started getting more interested in the idea of finger picking patterns. At the time, I was playing a lot of punk guitar. This was just a new fun thing to work on—a new skill that I wasn’t very good at, but I could sense myself getting better. Finger picking patterns are very meditative. I started writing lyrics that were a little more emotive and a little more serious than something that would end up in Fire Heads or Proud Parents. I think I was more into the lyrical aspect than just putting together something that would fit over barre chords–having a more structured narrative that was maybe a little more poetic and a little more sincere and just being able to fit that over patterns. **Which in turn probably makes that feel a lot more vulnerable, right?** Yes. ![TS Foss, photo courtesy Tyler Fassnacht](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/10/ts-foss-press-pic.jpg) TS Foss, photo courtesy Tyler Fassnacht **Proud Parents had some humor to it, which created some distance between you and the subject.** If there’s a funny punchline, it’s OK to write a song about being depressed. Everyone’s like, “Haha, yeah, same!” But if it’s just a really sad song about some shit your parents did to you when you were a child, it’s like, “Are you okay?” **You met Bobby Hussy through Fire Heads. How do you get involved with the Hussy? The Hussy existed for many years before you joined the band.** They had a full, healthy career before I got involved. They toured Europe twice, they toured America many times over, and they released records with really great labels. It was at a time where the Hussy was not necessarily taking a break, but they had done it so hard for so long that they were starting to ease up a little bit on it. I was doing so much with Bobby in Fire Heads and with Heather in Proud Parents that I was just with both of them all the time. I think they needed a changeup, a slight variation to get excited \[about the band\] again. They had done a couple of shows where a third person would come up and play for a couple of songs, so they talked about bringing me into the band more fully. By the tour for the last record, we had a fourth member who was playing bass. Tyler Spatz was the bass player who came in. **Is that why you’re Baby Tyler? Because there were two Tylers?** Yes. Heather got a hold of this story. I was maybe 3 or 4 or something. My parents always called me Baby Tyler when I was a kid growing up. I think my mom was introducing me to some of her coworkers because they came over for dinner. She introduced me as Tyler and I very strongly corrected her: “Mommy, my name is Baby Tyler.” **It’s fun that that’s stuck with you as an adult.** Without the mustache, I do have a baby face. When I was starting to do the solo project during the pandemic, I didn’t have a name for it. I was releasing this album that I had written and recorded in a day or two. FDH Records had reached out and they were doing this limited series vinyl subscription series. They wanted to release [*Dumb Masheens*](https://tsbbty.bandcamp.com/album/drumb-masheens?ref=see-saw.fun). They were like “what do you want to call it?” and I was like \[*sighs*\]. **Do you feel like you’re stuck with it now?** Absolutely. ![Baby Tyler Band, photo courtesy Tyler Fassnacht](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/10/Baby-Tyler-7-1.jpg) Baby Tyler Band, photo courtesy Tyler Fassnacht **How did Baby Tyler, as a solo project, actually start? Was it out of pandemic-era boredom?** Every punk found a drum machine during that time and was like, “wait, I’ve got an idea!” It was really fun and I didn’t think anyone would really care about it, so I put it up on Bandcamp for free and posted about it online. People loved it. It’s frustrating—it’s one of those things where you put such little effort into a thing and everyone cares about it versus something else where you put in an insane amount of effort and no one cares at all. We were really pushing Fire Heads hard, I did so much on the last thing we did \[the split with Sex Scenes\] and people were like, “Yeah, it’s good.” \[*Drumb Masheens*\] I wrote and recorded in two days. **How did you settle on the sound for it? Was it just what you could cobble together at home on your laptop?** I had very little knowledge of how to record in that way. I found a drum machine app that a friend had recommended: the DM1\. I believe it’s $9\. I just use that for everything. I DI’d guitars and bass through pedals. No EQing at all because I didn’t really think about it. Everything is super in the red. I went out to our practice space and screamed over the top of it. I kinda got roped into this podcast \[*155 Pod*\] that talked about punk songs, so that gave me a good reason to have my recording gear out. Every week, they would announce what song they were doing and they took fan submissions for covers. I submitted a cover every week for a whole year. I was learning more about mixing and EQing and adding other things to it. I was getting better with vocal harmonies. I just started writing more songs on my own, so [*VOL. 2*](https://tsbbty.bandcamp.com/album/vol-2?ref=see-saw.fun) came out really fast. **How’d you figure out the live setup?** John \[Toohill\] from Science Man did a similar thing, so I called him and was like “I wanna do what you do. What do I need?” He was like “you can reroute each instrument to a different amp. It’s a pain in the ass, but it’s worth it. It sounds way better than all through a PA.” We would get on FaceTime and he would hold my hand and walk me through it. I had all these plans to play shows solo, but then I got an email from the booking agent of Kikagaku Moyo. They were like, “Hey, they’re coming to the U.S. to do their final tour before breaking up. They want Baby Tyler to open in Madison.” I thought it was a scam \[*laughs*\]. Like, *What? They’re playing an 800 person theater. Baby Tyler Band isn’t real!* **Was that your first show?** First ever show! I hesitantly responded and was asking these professional-seeming questions to get a response and make sure it wasn’t fake or a joke. I was like, *OK, I just agreed to play this show in this huge theater opening up for this incredible band. I don’t want to do this solo.* I put together the first iteration that was Gwen \[Beltane\], Liam \[Casey\], Heather, and Graham. It was a sold out show. That was very overwhelming. As soon as we finished that show, I started doing solo touring. Nobody else could go on tour. **The Baby Tyler Band album was recorded right before that show, right?** That album was a rehearsal for the show. **I was wondering about that. It says “recorded live” on the jacket, and it sounds very “on stage,” but there’s no audience sound.** We needed a space that was big enough for that band to rehearse, and we were only going to get two days of rehearsal. Everyone is such a musician, so I wasn’t super worried about it. I had a friend who worked at a professional music studio with a huge sound stage. He was like, “What if we just mic’d everything?” We had a 14-song set, because we had to play for 40 minutes or something. We played the set three times, so by the end of it, my voice was so hoarse and blown out. That was the first time that we, as a band, had successfully played through the songs, and it was the day before the show. Years later, he was like, “You know, I still have those recordings. They sound pretty good.” So we just mixed them down and it was for sure good enough to release. **Do you like touring solo?** I love touring solo. It’s way more work, and it’s exhausting, but, man, that payday really hits when you don’t have to split it five ways. Almost everyone has a comfy couch, has a guest room, or is willing to feed one person. It really developed a stronger sense of community for me in the DIY scene. It’s so much easier to take care of a single person, so I felt a lot of support and appreciation touring around. ![Celebrity Sighting, courtesy the band](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/10/celebsightbandpic.JPG) Celebrity Sighting, courtesy the band **How did Celebrity Sighting come about?** Me and Danielle \[Tucci, Tyler’s longtime partner\] had always joked about starting a band. She’s been around live DIY music for her entire adult life. When we started dating, she was super supportive of me and was always very understanding when I’d go on tour. There were times where I was like “there’s this good show opportunity but it’s literally on our anniversary” and she’d be like “that’s fine, you can play the show.” She knew how much it meant to me, but it was always this thing that I could tell she wished she could be more a part of it. I was living for two months in a friend’s spare bedroom between leases and I was writing music the whole time because I had nothing else to do. I was working on these songs that were Proud Parents-esque, but I was pushing them more into rockin’ stuff. I was putting the drum machine on it, but I realized none of it could be Baby Tyler stuff. It was way too poppy. I started writing all these songs based on Danielle’s experiences. She had a year plus long medical experience where she had to deal with all of these insurance loopholes and she was getting screwed left and right. She was working somewhere for a decade and got laid off by her own brother. She had a real tough two years. **Did she think they were accurate?** Oh, 100%. She was like, “How did you do this?” *Well, we’ve been together for a decade. We talk all the time.* \[*laughs*\]. I brought it to her as an almost finished product. I had recorded some vocal parts and, originally, I was going to have her sing them and then I would remove my parts. But then it was like, what if we do a Times New Viking thing where we both sing all the parts at the same time? Sometimes we’re harmonizing, sometimes we’re just shouting in unison. I think that helped her too, because she was really nervous. The attention was on both of us. She had so much fun recording it, and I think [the tape](https://nightbellrecords.bandcamp.com/album/theyre-just-like-us?ref=see-saw.fun) turned out so well. She was like, “Well, we have to play a show.” I was like, “Yeah, we’ll make a small run of tapes, put a live band together, and play one show. It’ll be a fun, small thing!” **This is a common thing in your life. “I’ll do one, it’ll be lowkey” and then five years later, here we are.** \[*laughs*\] We put it out and we got a [Stereogum writeup](https://www.stereogum.com/2281301/stream-celebrity-sightings-garage-pop-delight-%E2%80%8B-%E2%80%8B-%E2%80%8Btheyre-just-like-us/music/?ref=see-saw.fun). All these people started asking us for shows before we even played the first show. Danielle has been having the best time. Now it’s a full, serious band. **I feel like between TS Foss and Baby Tyler, the two projects written from your perspective, lyrically, there’s a little bit of not doing OK.** \[*laughs*\] **I know you to be an affable person. The Baby Tyler on record is very angry and serious. I think TS Foss is a little sad and serious. How would you define yourself emotionally?** Right now in my life, I’m very happy and satisfied with how things are. That has not always been the case. Growing up, I was in a very emotionally heavy household. I didn’t really have the ability to express that, necessarily. I grew up thinking it doesn’t matter if you’re not feeling good, you still have to do shit and move forward—that doesn’t have to define who you are every day. I was on antidepressants through college and I’ve been on and off seeing therapists. I know that there are more deep-seated issues that I have dealt with successfully and unsuccessfully over the years, but when you start being in a punk band in your late teens and you do that for a long time, it really arrests your ability to process in a lot of ways. Especially if you do it the way I did it, with a lot of partying and being on the road and a lot of being like “this is a real life problem and it’s not real life and I’m on tour.” **You can kind of become a different person than you are in real life.** A lot of those songs would be written out of a point where I was very upset and sad about something. I would write something about that. I might not be feeling like that the next day. I don’t consider myself a super angry, depressive person all the time. Right now, especially, everything in my life is going great. Things are really coming up Milhouse \[*laughs*\]. When your life is going great, you start feeling bad because so much other shit is not going great. There’s so much other stuff to be legitimately upset about. I do have a tendency to focus very much inward, so the happier I get the more I’m like “...oh.” **A lot of the Baby Tyler songs deal with success and disappointment. There’s a lot of that on *Sucker With A Dream*, but even on *Imposter* there’s “Generational Disappointment.” How do you define success and disappointment?** The marker for that changes a lot. There are times where I have an idea of what success would look like. At a certain point I’m either acknowledging that that’s an unrealistic expectation, or I’m arriving at that point and realizing that that’s no longer what I define as success. I’m 33\. I’ve been touring pretty seriously since I was 20\. I’ve put off a lot of professional opportunities, a lot of relationships and friendships have faltered because of it, and I’ve spent a lot of time and money on a lot of time not making money in order to do this and keep moving it forward. As I was writing this record, two years ago, I was not at this positive of a point. I was not seeing myself as very successful, and I felt not only the anger that goes along with that, but I also felt the self-reflection of being like, *Who am I to expect all of this for someone making punk music? Why do I feel like I’m owed anything? No one’s telling me to do this.* **That happens across all of your records, but especially *Sucker With A Dream*. There’s a little bit of being mad at the music industry on this one, and what you actually get out of the effort you put in as a DIY musician.** It’s a ponzi scheme. No one’s making money for themselves. Someone’s making money, but it’s not you. There’s the streaming stuff, and the AI stuff, and every band I know is looking for a new van. Cars are too expensive. No one can afford hotels. As a punk DIY person, people are always like, “Oh, that’s so lame, you need a hotel every night?” Maybe not every night, but you’re supposed to go on the road for three weeks and sleep on a floor every night? When you’re in your 30s, that’s hard. My back hurts all the time. I have to consistently exercise and stretch to perform at a level that I feel like people deserve to see. **You are a fucking wild person on stage. That comes from making sure people feel like they got their money’s worth?** I’m very hard on myself in terms of what I bring to the table. If it’s not the absolute best that I’m able to \[perform\], I feel like I don’t deserve \[the audience’s money\]. If I’m not about to throw up and I’m exhausted and sweaty, like I literally physically can’t give you more, I’m not satisfied. **I feel like this new record too is the best representation of the live solo Baby Tyler experience on record. Was that something Graham brought to the table? This is the first record you’ve had someone besides yourself credited.** I wanted this record to sound different and bigger. I recorded all the tracks, initially, the same way I’ve done the other ones. At that point, \[usually\], I would try to EQ things, add synths and keyboards here and there. He was like, “Dude, let’s re-amp everything. We can make it sound \[live\] in the room.” We would—very friendly, not aggressively—butt heads in the studio a little bit. I was like, “Oh, it needs to be more blown out. It needs to be more lo-fi and shitty.” And he was like, “No, it shouldn’t. It should be cleaner.” He really pulled me out of my comfort zone. I was able to make him compromise on some stuff he wanted, but there were times where he was like, “I literally refuse to pull these vocals down anymore than I have already.” ![Tyler Fassnacht in Ireland, photo by Danielle Tucci](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/10/Tyler-in-ireland--Danielle-Tucci-.JPG) Tyler Fassnacht in Ireland, photo by Danielle Tucci **It’s definitely the most I’ve been able to hear you on one of these records. I was going through the evolution of all of them through the new one, and you’re slowly popping out more in the mix each time.** It’s really scary. I was very nervous about it when we got the finished product. I was like, *Man, people are going to hate this* \[*laughs*\]. I feel like it’s the most minimal recording I’ve done. I’m not layering a bunch of stuff to obscure myself. I think it’s very much “next step” material. **That’s how I felt listening to it.** There’s songs on the record about doing the same things over and over again and expecting something different and how dumb that is, and \[about\] old punks and garage heads being like, “The industry these days! No one cares anymore!” **Is that what “Old Advice” is about?** Yeah. It’s just like, no dude, you haven’t done anything new or interesting in years. Read a book or listen to the radio. I’ve always been very afraid of doing the same thing over and over again. Doing that is comforting. I’m really good at this thing, I could just do it over and over again. People really like it. **But then how do you hit the next level?** It’s not gonna happen. You’re gonna stay plateaued and people will start losing interest. This album was me being like: You know what? Fuck it. If you have an idea that makes me uncomfortable, let’s explore that. --- *see/saw is a reader-supported publication. If you enjoyed this article, please share it and* [*subscribe*](https://see-saw.fun/#/portal/) *to this newsletter.* ### punk this week: the smarthearts, buio omega, brainbombs + 25 more URL: https://see-saw.fun/punk-this-week-the-smarthearts-buio-omega-brainbombs-25-more/ Last updated: 2025-10-25T01:12:35.000Z Hey, it’s [Punk This Week](https://see-saw.fun/tag/punk-this-week/), the punk and rock'n'roll recommendations column that goes up every Friday. There’s new ones from the Smarthearts, BUIO OMEGA, and Brainbombs, but there’s a lot to dig into this week; I wrote about 25 additional deeply sick records. Did *you* know Kid Congo Powers was going to drop major heat today? I certainly didn’t. I wrote over 2,000 words today about records from all over the world, and if you want to read about all of this stuff, you have to [subscribe](https://see-saw.fun/#/portal/) and get behind the paywall. It’s $4/month or $40/year or barter. In addition to the [weekly column](https://see-saw.fun/tag/punk-this-week/), you get [bonus podcasts](https://see-saw.fun/tag/jukebox/) (like the brand new [chat with Ekko Astral](https://see-saw.fun/see-saw-jukebox-06-ekko-astral/)) and the full [see/saw radio](https://see-saw.fun/see-saw-radio/) archive of over 50 episodes. Most importantly, you get the knowledge that you’re helping keep this fully independent love letter to loud and insane music alive. I don’t have investors or a safety net—just the kindness of strangers. Thanks for reading. --- **The Smarthearts:** [***Not Forgotten***](https://thesmarthearts.bandcamp.com/album/not-forgotten?ref=see-saw.fun) **\[Stupid Bag\]** It’s been an unbelievable year for rock’n’roll records out of Philadelphia. The latest entry comes from the Smarthearts—their first new record in seven years. *Not Forgotten* is an outstanding power pop record that finds a magnificent balance between punk grit and janglin’ charm. Maybe you’re concerned that the 2025 power pop bubble has burst—that there’s no more juice left in that particular orange grove. I, too, have grown concerned about becoming calloused to fun and danceable guitar music. Alas, the Smarthearts’ new one has me up on my feet and shaking my stupid butt. This right here is some incredible songcraft, powerful earworm writing, and exceptional engineering. No padding, no skips. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/10/a4112142285_10.jpg)](https://thesmarthearts.bandcamp.com/album/not-forgotten?ref=see-saw.fun) --- _This post is for paying subscribers only._ ### see/saw jukebox: ekko astral URL: https://see-saw.fun/see-saw-jukebox-06-ekko-astral/ Last updated: 2026-06-04T22:12:09.000Z [*see/saw jukebox*](https://see-saw.fun/tag/jukebox/)is a bonus podcast about perfect punk records from *Punk This Week* hosts Nina Corcoran and Evan Minsker. It’s available exclusively to [paid see/saw subscribers](https://see-saw.fun/see-saw-jukebox-05-no-ages-randy-randall/#/portal/) ($4/month or $40/year or [barter](https://see-saw.fun/bartering/) \+ there’s a two-week free trial). In each episode, Nina and Evan are joined by a guest. Then, each of us pick a perfect punk record to add to the idyllic punk jukebox of our *minds*. Subscribe and you can hear the full episode, in this post, below. --- This time, we’re joined by Jael Holzman, Miri Tyler, and Liam Hughes of Ekko Astral. Upon today’s release of their new single “[Horseglue](https://www.youtube.com/watch?v=gCEUQYZm33Y&ref=see-saw.fun),” the band discuss that track and other new songs they performed while touring the U.S. with PUP and Jeff Rosenstock. “I was a reporter in the U.S. Congress,” Jael said of “Horseglue”’s origins. “And there I am watching \[other journalists\] launder transphobia and xenophobia through their work by simply providing equal weight to individuals with political power who lie. Their job is the truth and they’re lying constantly.” Jael also explained how corporate journalism’s indelible ties to the fossil fuel industry informed the song. “I used to work for news outlets that are among the many who cover climate change while taking oil and gas money through the form of large advertisements, native advertisements, articles that are actually paid for, or large paper spreads,” she said. > “There is an indeterminate amount of money that is spent by fossil fuel companies in the news. How can we possibly think that by doing that, these news outlets can still credibly cover these subjects without fear of upsetting their benefactors, especially in a constrained media environment like the one we have today?” “And lyrically, I’m fucking calling out gas stove bans,” Jael said. “I don’t know any other song that talks about gas stove bans. We need to ban gas stoves. They’re actually a hazard for your health.” Below, check out the full episode to find out more about “Horseglue,” the proto-punk classic that inspired the band’s ethos, and hear which five punk records get added to the see/saw jukebox. --- _This post is for paying subscribers only._ ### punk this week podcast 55: citric dummies + good luck URL: https://see-saw.fun/punk-this-week-podcast-55-citric-dummies-good-luck/ Last updated: 2025-10-21T18:40:52.000Z [Punk This Week](https://see-saw.fun/tag/podcast/) *is see/saw’s free weekly podcast from co-hosts Evan Minsker and Nina Corcoran—a discussion of the latest and greatest in the world of punk rock. We talk about six new punk records we’re loving from the past week.* It’s an episode with a ticking clock: Will Nina make it on time to the Frog gig? Still, we had to discuss the Zippy’s dog, Reksio candies, and Elmo’s bold stance. We brought new records from [Citric Dummies](https://citricdummies.bandcamp.com/album/split-with-turnstile?ref=see-saw.fun), [Good Luck](https://wearegoodluck.bandcamp.com/album/big-dreams-mister?ref=see-saw.fun), [SOGA](https://ironlungrecords.bandcamp.com/album/corrosi-n-lungs-303?ref=see-saw.fun), [Twisted Teens](https://jazzlife.bandcamp.com/album/eu-ep?ref=see-saw.fun), [Baby Tyler](https://nightbellrecords.bandcamp.com/album/sucker-with-a-dream?ref=see-saw.fun), and [Destiny Bond](https://convulserecords.bandcamp.com/album/the-love?ref=see-saw.fun). ![Zippy’s Hot Dogs logo + Elmo’s Freedom for Poland, photos by Nina Corcoran](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/10/MixCollage-21-Oct-2025-01-35-PM-2098.jpg) Zippy’s Hot Dogs logo + Elmo’s Freedom for Poland, photos by Nina Corcoran --- Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.fun). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/see%5Fsaw.fun/?ref=see-saw.fun) and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). Have a question you’d like to hear addressed on the show? Want to talk about a new record we didn’t discuss? Want to send a HARD PIVOT or NO AMERICANS bumper? Join us on the see/saw [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun) or email us: [see-saw@see-saw.fun](mailto:see-saw@see-saw.fun). *Punk This Week* is made possible by see/saw subscribers; please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-54-black-eyes-shakti/#/portal/) if you enjoy this podcast. You’ll learn about way more punk records than we can pack into the pod! ### nyc’s bread & roses fest was a diy utopia URL: https://see-saw.fun/nycs-bread-roses-fest-was-a-diy-utopia/ Last updated: 2025-10-20T17:51:24.000Z *“Hearts starve as well as bodies/Give us bread, but give us roses.”* — [Judy Collins](https://www.youtube.com/watch?v=YsvGPj0LH0M&ref=see-saw.fun) Mounting a DIY festival in New York City sounds like an impossible feat, but it happened. No proper venues, no one turned away for lack of funds. All the typical, perceived barriers were present: rapid gentrification, police presence, the general high cost of living. Yet 30 or so bands played in five locations across three days in late September, and by all accounts, Bread & Roses Fest was a success. The genre was peace punk, love rock, and indie—but only in the original sense of the word: independent. The uniform was a local band tee and an assortment of pins, most of which ended up on the floor. The drink of choice, aside from cheap beer, was yerba mate. And as cliché as they are, the core tenets of the weekend were peace, love, and music. Ari Bales of Good Flying Birds summed it up best: “This is the crustiest indie rock festival ever, and I mean that in a good way.” The ambitious project was mounted through the collective efforts of a dozen or so volunteers. Donna Allen and Jake Barczak, pillars of the New York music community, helped spearhead organizing efforts. “I’m just happy no one got hurt,” said Allen, who also performed with her band Chronophage. When asked if there was a moment that defined the weekend, she said, “me and a few others were definitely defacing city property to help with accessibility, and there was this older guy looking around, and we were positive he was calling the cops. So we were freaked out. About 15 minutes later, I tried to talk to him to see his deal, and he was just trying to help us. He ended up jumping a fence and watching some of the show.” Sonically, the bands that played at Bread & Roses lie on a spectrum based more on DIY spirit than style. Solo guitarists and full-blast five-pieces were equally anticipated and appreciated. Delegates of local scenes were present from all corners of the U.S. and even Canada. Yet despite the wide range of origins, most attendees were already friends through the broader music community. More than once, the weekend was described as “Instagram in real life.” What brought zinester Eli Schmitt from Chicago was “the music”: “The beauty of it. A lot of friends are playing and it's such a special thing that like, it feels like if I could go, it’d be silly not to go, you know?” “It’s a great beautiful weekend of seeing all of my friends from all over the country and meeting people that are connected. Everyone's so connected,” said Guiding Light’s Elise Cook, who traveled from Texas. --- ![Jake Barczak of Bullseye poses with the festival banner, photo by Kate Vitali](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/10/24090018.jpg) Jake Barczak of Bullseye poses with the festival banner, photo by [Kate Vitali](https://katevitali.com/?ref=see-saw.fun) **September 26 day show, Herbert Von King Park Amphitheater** As the first show took place in Brooklyn, the borough was represented by its first artist. In the middle of Bed-Stuy’s red and green painted concrete round, singer-songwriter Jel serenaded with an acoustic guitar set to open the festivities. “I think it will be a good time,” she said. Optimistic trepidation was the general energy from the crowd, wondering if the festival and its lofty goals could actually be pulled off. One point of certainty came from the merch table, which was immediately functional with [tapes from Giant Beat](https://giantbeat.bandcamp.com/album/bread-roses-promotional-compilation-tape?ref=see-saw.fun) duplicated on the spot. “We’re cooking up a beautiful moment in American DIY,” said Mag Greaves, who came from Texas to help with the event. “The tape is one track from every band who’s playing this weekend, and some who aren’t; some had to drop, but we just had them on anyway. And it comes with a huge newsprint zine where each band did a page. We have stacks of them in the car.” Screen-printed t-shirts and patches were also made, plus an assortment of pins in heart-shaped designs. Artists also sold their own cassettes and records throughout the weekend. Two large banners were hung from the wall and would be the backdrop for subsequent shows, one with the name of the festival, the other calling for a free Palestine. Acoustic sets came from Minneapolis mainstay [Caitlin Angelica](https://see-saw.fun/caitlin-angelica-and-the-act-of-grieving-by-singing-really-loud/), with a series of folk-tinged requiems, and Jason Shapiro, the comedic troubadour from Chicago. “Daytime shows, I think, are a little bit more nerve-racking because they can see you, and people aren’t drunk,” he said. The public nature of the event became apparent when Shapiro was interrupted by a heckler; a child from the playground above. “A lot of my songs contain swear words and talk about sex. And he was yelling, ‘more cursing songs, more cursing songs,’ because I was playing one of my cleaner songs. So he didn’t like it. I think this made the set more memorable.” The first full band to play was Heartknit, the new Austin indie poppers fresh off the adrenaline of their first tour. The ever-changing Chronophage has roots in Austin as well, but appeared in its latest Brooklynian incarnation as raucous as ever. By the end of the first show, the stands had emptied into a dance circle; a wave of knowing smiles affirmed that yes, this might just work. --- ![Mag Greaves and Humberto Ochoa sing along to Guyscrapers](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/10/22600004.jpg) Mag Greaves and Humberto Ochoa sing along to Guyscrapers; all photos by [Kate Vitali](https://katevitali.com/?ref=see-saw.fun) **September 26 night show, undisclosed Long Island City location** The swampy backwoods of the expressway came alive with buzzing amps and string lights, far away from any NIMBY who might have a problem with loud music, which was the night’s general theme. In July, the Bread & Roses team put on a proof-of-concept show at this same location, but now the crowd was more than three times the size, and it seemed that the entire student body of the New School was present. It sounds shocking that rock music could draw a crowd under the average age of 50, but less so when you learn that the headliners were Horsegirl, the Matador darlings who insist on maintaining their DIY roots. “I couldn't be more psyched about the scope of the event and the diversity and the ambition and the rough-and-ready aesthetic,” said volunteer Gabe Fowler, beaming about the show. “And that there’s people here to receive that. It’s pretty joyous.” The hopeful energy of the first show was built upon by increasing the intensity and volume of the music. Daniel DiMaggio’s Home Blitz began by conducting a folding table of customized electronics with a Martin Newell-esque clank. New Jersey peace punks Jolana Star thrashed their way through new songs of rage and love. Other highlights included Austin-based group Touch Girl Apple Blossom, who connect soft vocals with tight-laced guitar rock, and Guyscrapers, the hometown heroes who finally got the crowd to dance. ![Genre performs at Bread & Roses 2025; all photos by Kate Vitali](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/10/22600025.jpg) Genre performs at Bread & Roses 2025; all photos by [Kate Vitali](https://katevitali.com/?ref=see-saw.fun) “I definitely feel like it’s the dirt or something that’s making my body feel insane,” said Diyana Xross, who plays in Genre, a band that toured from Kansas City to deliver an electrified set. Their ping-pong vocals and sharp tempo shifts are more engaging than TikTok. “Music has such a greater payoff whenever you’re doing this all outside of the confines of a sort of capitalized bar or venue.” Fashioning themselves as spokespeople for the Midwest, Good Flying Birds led a raucous brigade of double tambourine-brandishing indie rockers. They passed around a bag of cheap Canadian cigarettes for the audience to share. Guitarist Luke Corvette surfed across a sea of tattooed hands. “Being surrounded by so many others with a similar vision and drive gave me the fulfillment and hope that I’m continuously searching for,” he said. With mics pushed to a level far louder than their recordings, singer Susie Slaughter led the crowd to join in the percussion with house keys: a new definition of jangle pop. The tambourine continued its shine during Horsegirl’s performance, as friends of the band climbed the yard’s shipping containers and played above the stage. It was well after 1 a.m., but the crowd was singing “Switch Over” so loudly together that the band was drowned out. When Horsegirl wrapped their set, the lively yard made a mass exodus. There was no need to mill around and extend the hang, it was a long day, and a longer one was ahead. People filed into rideshares, looking for a bite to eat and a place to rest. --- ![The Bread & Roses 2025 zine; photo by Kate Vitali](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/10/24090003.jpg) Mag Greaves, Donna Allen, and Mouse with the Bread & Roses 2025 zine; photo by [Kate Vitali](https://katevitali.com/?ref=see-saw.fun) **September 27 day show, Ridgewood Presbyterian Church basement** Maybe the previous night was a little more debaucherous than people realized. The collective vibe of Saturday morning was sleepy, but it was actually 2 p.m. “We're hungover,” said Diyana Xross, who was playing again that day with Kansas City’s 2W33DY. “But we’re going to rally. I’m going to get some pizza. Maybe we’ll all just have a big pizza party.” The world was running at half-speed, but the basement at Ridgewood Presbyterian Church was full. Also known as Stone Circle Theatre, the Queens church has become a staple location for DIY shows in recent years, but they’re typically held in the main building—a space that was already occupied by a Gamelan workshop. The droning Indonesian percussion rang out to the lot below where the punks were smoking: amusement to some and annoyance to others. A few even went in to learn the ancient art form, an unofficial extension of the festival into new spheres. The second day of Bread & Roses began much like the first. Ava Miah Rose and Alina Jacobs each played solo guitar sets, one haunting and ambient, the other twee and humorous. The prolific David Grubbs appeared to play an array of atmospheric guitar variations. Among the full bands that played the basement were the whispery, shoegaze jangles of Canaries Visiting Hour, as well as 2W33DY, whose twangy ballads are roughed up by Kenia Balquier’s commanding stage presence. Providers, the New York-based punk trio, gave the most politically potent display. Singing in Spanish, their call to action spoke to the general values of the festival, against genocide, ICE agents, and AI. A few members of the local hardcore scene, who often don’t come out to indie shows, made an appearance to support their performance. By the end of the day, energy had re-entered the space; maybe it was the music, maybe it was the pizza. --- ![The crowd rages in Long Island City at Bread & Roses 2025; photo by Kate Vitali](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/10/39510005.jpg) The crowd rages in Long Island City at Bread & Roses 2025; photo by [Kate Vitali](https://katevitali.com/?ref=see-saw.fun) **September 27 night show, undisclosed Williamsburg location** Beyond a wire fence and piles of broken glass, there still lay a part of Williamsburg that hadn’t been overdeveloped. In a year, that spot is sure to be razed over and replaced with a big glass high rise, but for one night it was a secluded paradise. But just when it seemed that the festival would make it through the weekend without any issues, the generator ran out of fuel and it began to rain. For the dedicated festival-goer, two hours of waiting around wasn’t too much of a hassle as long as there was food, beer, and conversation. So by 10 p.m., when Miranda Soileau-Pratt’s guitar rang out for a Spatulas set, the crowd was hungry. The earnest stomp and howl of her solo opening number slowly unfolded to include the full band in a roar, and there were seven more bands to go. Rat Henry performed during a dry spell, essential for their tape manipulation techniques, poetry, and monotone spells. Ribbon Stage even made a surprise appearance to play a three-song set, a welcome appearance from a band on K Records (whose historical significance to the Bread & Roses Festi did not go overlooked). Watching the weather deemed useless, as the rain came and went on a moment’s notice. It was never punishing enough that the show had to stop, but there was definitely concern for the equipment. The makeshift solution was a blue plastic construction tarp held over the heads of the bands to keep their instruments and the PA system dry. “It doesn’t matter if things are kind of running late. We’re watching out for each other and making it happen no matter what,” said Mag Greaves. “People are taking turns holding up the tarp and finding a perfectly sized stick to hold up the center of the tarp. Having everything get waterlogged and just keep going is beautiful.” ![Bread & Roses attendees on a shipping crate as bands perform directly below; photo by Kate Vitali](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/10/39500004.jpg) Leighton Branaugh and Eli Schmitt on a shipping crate as bands perform directly below; photo by Kate Vitali Ridgewood pop group Jeanines had a good sense of humor about the turn of events, as Jed Smith remarked that “this is not the night for the guy who plays drums without shoes on.” Once people accepted that they were going to get wet, the energy picked up. There was no need to be precious about shag haircuts and white t-shirts; it was more important to dance than to stay dry. The subsequent deluge of rock goodness came from a duo of Philly bands, first Mopar Stars sliding through the mud with the fastest guitars in the business. Smarthearts continued the beat with a confident strut, garage vibes, and a closing round of Psychic TV’s “Godstar.” And from San Francisco hiked Galore, whose perfect harmonies twinkled against each other with a vintage sensibility. By 3 a.m., there was still a sizeable pack holding out for the sake of Artificial Go, the Cincinnati band who had been waiting in the wings all night. They ran a short set out of respect for the soggy weather, which only got worse as they continued to play, but their strength in off-kilter post-punk cut through. Singer Angie Willutt ricocheted around the stage in a teal prairie dress that she had thrifted earlier in the day, the bottom dragging in the mud. Her energy was built by a mixture of excitement, delirium, and exhaustion, and it was matched by the audience tenfold. The pit was alive. “We all danced our rainy socks off,” said Wilcutt. “The tarp fell a couple times, but the band never skipped a beat, even when the tarp got them soaked while playing. All of us who stayed until the end were in a fever dream.” Bassist Micah Wu added: “It was one of those experiences that can’t be replicated.” --- ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/10/24090022.jpg) Act performs at the Rockaway Beach Amphitheater while Gigi Reece enjoys an ice cream cone; all photos by Kate Vitali **September 28 day show, Rockaway Beach Amphitheater** By morning’s break, the air was warm and breezy; it felt like a reward for enduring the storm. Rockaway Beach was the ideal setting for the last day of the festival, already in its calmer off-season and eternally loved by punks for its Ramones association. Those who could not hitch a ride took the subway, a triple transfer with a sea view. On an outdoor stage shaded by a suspiciously Sydney Opera House-shaped canopy, Brooklyn rockers Bullseye plugged into the PA system relatively on time, which is impressive for punks. Things were already bittersweet given that the weekend wouldn’t last forever; it felt like the end of camp. But the day was almost pure and spent well: flagging down ice cream trucks, playing with dogs, and kicking around a soccer ball. Unassuming passersby were relatively on board with the whole thing, some folding out beach chairs to watch the show. Bullseye’s tender cover of “Waterloo Sunset” surely helped win the beach crowd over, as well as Lightheaded, the Slumberland band who take cues from C86\. As more people filed in, the bold electric freakout of Act took the stage. The trio’s experimental noise rock was the perfect way for the festival to claim its stake on the beach. All are welcome, but you’ve got to be down for anything. A surprise set from Aswan Dam, the new project of Harry Wohl, was a real treat since the band’s appearance was in the middle of a tour. Also new was Garden of Love, who came down from Montreal to start their tour across the states with a faulty pedal. Between the crunchy guitar and deliberate songwriting of these two acts, the next wave of great rock’n’roll looks bright. Garden of Love’s Jane Harms said of the festival and the times we live in: “I think there are still ways to imagine alternatives, and in some ways more than ever.” ![Bread & Roses 2025 at the Rockaway Beach Amphitheater; all photos by Kate Vitali](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/10/24090010.jpg) Bread & Roses 2025 at the Rockaway Beach Amphitheater; all photos by Kate Vitali By mid-afternoon, the festival had gained an unsolicited mascot, an Italian beach bum with the eyes of Ebon Moss-Bachrach and the physicality of Mr. Bean. He sat at the front of the stage, participating in pit soccer games, inventing new dance moves, and asking people if they believed in love. When the question was turned on him, he said, “No.” After all, the man kept yelling that he couldn’t find his wife, a woman that no one was sure even existed. Another detour came from an elementary schooler who asked the organizers if she could sing onstage, becoming the warm-up act to National Photo Committee from Chicago. Eliana’s a-cappella rendition of Alicia Keys’ “Girl On Fire” received a standing ovation, naturally. When National Photo Committee did take the stage, their steel pedal grooves and improvisational tunes led to mass grooves. “I feel like everyone who played the festival this weekend are people I look up to and am very lucky to call friends,” said frontman Maxwell Bottner. “Most of them. Some of them, you know, you’re on my shit list. But maybe by the end of the night, we can squash whatever.” A bouquet of real roses, and other flowers, we strewn across the audience, and crowd members waved their stems through the air like magic wands. Last, but never least, was a dose of cello-spattered alternative from local trio Autobahn, who—although rushed for time—made for a stunning conclusion. The power supply was shut off at 7 p.m. sharp. The drums pounded for one final time, and the beach returned to its natural volume. People hugged, said goodbye, and made the long trek back to Brooklyn for celebratory drinks. Reflecting on the festival, the collective aspect is what attendees brought up time and time again: “It’s a scary time and it’s really nice to have community,” said Genre drummer Aofie Conway. “And it’s extra awesome that it’s not just local community—that people have come from all over the country for this. I love that. It makes me very happy and it’s very comforting. It makes me feel safer.” There were a lot of things happening in music the weekend of September 26\. Classic punk fans had the CBGB Fest under the K Bridge. Hipsters had a free Geese show in the triangle at Banker’s Anchor. Many a friend was down in Memphis for Gonerfest. But the people who went to Bread & Roses chose to build something entirely new—something that will grow. “I hope it inspires more things like this in the future, and it also inspires me to do more in my hometown as well,” said Luke Corvette. Now that the groundwork has been laid, would the Bread & Roses crew consider attempting the impossible next year? Jake Barczak is optimistic: “I think it turned out really epic and fun. I’m 100% considering doing it again.” ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/10/24090008.jpg) Bread & Roses 2025 at the Rockaway Beach Amphitheater; all photos by Kate Vitali --- *see/saw is a reader-supported publication. If you enjoyed this piece, please share it and* [*subscribe to see/saw*](https://see-saw.fun/#/portal/)*.* ### punk this week: citric dummies, baby tyler, twisted teens, destiny bond + 14 more URL: https://see-saw.fun/punk-this-week-citric-dummies-baby-tyler-twisted-teens-destiny-bond-14-more/ Last updated: 2025-10-17T21:43:22.000Z Hi, it’s [Punk This Week](https://see-saw.fun/tag/punk-this-week/), see/saw’s weekly punk and rock'n'roll recommendations column. It’s an absolutely wild week with the release of Citric Dummies’ *Split With Turnstile*, plus more massive new records from Baby Tyler, Twisted Teens, Destiny Bond, SOGA, Militarie Gun, Imploders, and so many more. Here’s the way it works—the weekly column is for [subscribers](https://see-saw.fun/#/portal/) who pay $4/month or $40/year (or [barter](https://see-saw.fun/bartering/)). That means every week, you could get writing about the best new punk records in your inbox. The paid subscription also gets you [bonus podcast episodes](https://see-saw.fun/see-saw-jukebox-05-no-ages-randy-randall/) and the [see/saw radio archive](https://see-saw.fun/see-saw-radio/). You also get the knowledge that you’re supporting a fully independent operation that only exists because of readers like you. [Please subscribe](https://see-saw.fun/#/portal/)! OK, I’ve got to [get to the punk show](https://www.instagram.com/p/DPPFUsVkZXL/?ref=see-saw.fun) at the Eau Claire pizza spot. Come through if you can, and happy reading either way. --- **Citric Dummies:** [***Split With Turnstile***](https://citricdummies.bandcamp.com/album/split-with-turnstile?ref=see-saw.fun) **\[Feel It\]** [Drew Ailes](https://see-saw.fun/see-saw-jukebox-04-citric-dummies-drew-ailes/) doesn’t give a fuck about lyrics, but unfortunately for him, when you lean in close enough to “I Can’t Relate,” you know the king is cooking as soon as he yammers the words “James Corden.” *Split With Turnstile* is the best album yet from Minneapolis’ Citric Dummies and one of the best punk records of the year. These 12 songs are defined by wild nonstop momentum (what’s up Travis), extremely charismatic vocals (what’s up Drew), menacing and belligerent bass (what’s up Drew), and unbelievable leads and riffs (what’s up Sean). It’s loud music mixed incredibly well—this ideal combination of crisp and muddy. “Bozo Brain” is a perfect 50-second hardcore song, and there’s a solo on “Cruisin’ for the Dead” that nukes every pleasure receptor in my brain. Picking out highlights doesn’t even make sense for this record; it’s an album made for mainlining in its entirety. This is a distillation of everything that makes them one of the most exciting live hardcore bands in the world. I’m even starting to come around on their war against turnstiles. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/10/a0496454323_10.jpg)](https://citricdummies.bandcamp.com/album/split-with-turnstile?ref=see-saw.fun) _This post is for paying subscribers only._ ### punk this week podcast 54: black eyes + shakti URL: https://see-saw.fun/punk-this-week-podcast-54-black-eyes-shakti/ Last updated: 2025-10-14T16:23:03.000Z [Punk This Week](https://see-saw.fun/tag/podcast/) *is see/saw’s free weekly podcast from co-hosts Evan Minsker and Nina Corcoran—a discussion of the latest and greatest in the world of punk rock. We talk about six new punk records we’re loving from the past week.* We welcome spooky season with a live taste of Reggie! Bar’s unexpected 2025 reboot and then play a bunch of hardcore records by [Slug](https://delayedgratificationrecords.bandcamp.com/album/no-pity?ref=see-saw.fun), [Endless Joy](https://ironlungrecords.bandcamp.com/album/endless-joy-lungs-298?ref=see-saw.fun), [Dry Socket](https://drysocketpdx.bandcamp.com/album/dry-socket-violencia-split?ref=see-saw.fun), and [Violencia](https://drysocketpdx.bandcamp.com/album/dry-socket-violencia-split?ref=see-saw.fun). After noodling into the stratosphere with [Blood Cannery](https://bloodcannery.bandcamp.com/album/olympic-blood?ref=see-saw.fun), we discuss [Black Eyes](https://blackeyes.bandcamp.com/album/hostile-design?ref=see-saw.fun)’ exceptional return on Dischord and an outstanding self-titled from [Shakti](https://lavidaesunmus.bandcamp.com/album/s-t-33?ref=see-saw.fun) on La Vida Es Un Mus. --- Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.fun). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/see%5Fsaw.fun/?ref=see-saw.fun) and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). Have a question you’d like to hear addressed on the show? Want to talk about a new record we didn’t discuss? Want to send a HARD PIVOT or NO AMERICANS bumper? Join us on the see/saw [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun) or email us: [see-saw@see-saw.fun](mailto:see-saw@see-saw.fun). *Punk This Week* is made possible by see/saw subscribers; please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-53-snooper-bb-bomb/#/portal/) if you enjoy this podcast. You’ll learn about way more punk records than we can pack into the pod! ### snooper and the sweat equity of world building URL: https://see-saw.fun/snooper-and-the-sweat-equity-of-world-building/ Last updated: 2025-10-13T17:00:51.000Z [Snooper](https://www.instagram.com/snooper%5F7/?hl=en&ref=see-saw.fun) is an extremely fun band to watch load out their gear. Blair Tramel is standing on the loading dock behind Memphis’ historic Overton Park bandshell speaking very earnestly and seriously about the stressful nature of a friend’s job, but I’m too distracted to follow because she’s casually gesturing with the big cartoon stage dumbbell. Connor Cummins picks up their toppled street light and throws it back into the hitch so effortlessly that he’s either immaculately ripped under that longsleeve or, more likely, it’s made of cardboard and weighs nothing. Their giant bug mascot, just seen jumping around the pit thanks to Tee Vee Repairman’s tour driver, sits crumpled and deflated in a box. These final quiet moments of Gonerfest 22 felt like watching the *Sesame Street Live* load-out. Once we all pile into the van, we’re talking about our shared affection for Green Bay punk luminary Timebomb Tom and the seemingly legendary Jeff Mahannah artwork for Spodee Boy that got completely scrapped because of how its particular depravity made its subject feel. (Jeff drew a horse shitting in Connor’s mouth, and mysteriously, Connor did not like that.) Big Bird’s social circle would never. Probably. After everybody figured out their next steps, Connor and Blair and I end up outside the Lamplighter. Sitting outside while Mod Lang started up their set, Connor remembered playing a show here in 2019 with Safety Net; G.U.N. couldn’t do it. “We got wasted drinking rum with \[Matrix\],” Connor said. “Nobody came to the show and we all had the best time. We all just played for each other and had a fucking sick time.” There were three people at the show. Blair added: “It was absolutely debaucherous.” Year in and year out, Connor and Blair have always found themselves traveling from Nashville for Memphis punk shows. Sitting on the curb with those two outside a tattoo spot called Skin City Ink—both still wearing their stage clothes—we talked about some of our punk mutuals from across the country. Connor and Blair are deeply rooted in this shit; they were going to see bands and geeking out over their fair share of obscure records before they got to where they are right now—a new peak of their powers. ![Blair Tramel and Connor Cummins at Gonerfest 22, photo by Sean Davis courtesy of Gonerfest](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/10/Snooper-14.jpg) Blair Tramel and Connor Cummins at Gonerfest 22, photo by Sean Davis courtesy of Gonerfest Snooper absolutely destroyed their headlining set around the release of their new album [*Worldwide*](https://snooper7.bandcamp.com/album/worldwide?ref=see-saw.fun). The album’s glitchy grittiness finds them expanding out their sound. Industrial murk meets their tried and tested bouncy propulsion. They’ve never been better live; nonstop touring will do that. Nobody who saw that band at Gonerfest could stop talking about their new secret weapon, [Citric Dummies](https://citricdummies.bandcamp.com/album/split-with-turnstile?ref=see-saw.fun)’ Travis Minnick on drums, who has taken the new material into the ionosphere, brother. A group of hunks seemed to show up specifically for Snooper; something about their eboy outfits and unadulterated glee in the pit gave them away. Literal kids were dancing right by the front of the stage waving glow sticks. It was a show for everyone. The great [Bloodshot Bill](https://bloodshotbill.bandcamp.com/?ref=see-saw.fun) stopped over and interrupted our sidewalk chat to give them props. Gonerfest is special because it levels the punk rock class system. Some bands on the lineup actively live in punk houses while others have publicists and label contracts. The vibe was broadly appreciative and enthusiastic; there were no combative onstage outbursts this year. But when you’re on the way up, you get haters—especially in the loudmouthed and principled landscape of punk music. The truth is, Snooper is in an impossible spot. Regardless of how they’d categorize themselves, they’re widely considered the biggest egg punk band in the world. Depending on who you ask, that’s either awesome or some kind of deep betrayal to the Coneheads and CCTV’s barely released masterworks. Snooper do not chase mystique; they tour broadly, release their music widely, and are accessible to their fans. Connor and Blair caught a stray in Martin Meyer’s [egg punk eulogy](https://www.hotsoundshotsounds.com/post/a-case-for-hatching-my-eulogy-for-egg-punk-explained?ref=see-saw.fun) for, of all things, their supposed lack of ambition, work ethic, and intentionality. The op-ed was an argument about a subgenre’s laziness and oversaturation, but targeting Snooper specifically for not working hard enough on their craft doesn’t hold water. Their U-Haul hitch alone was stuffed end to end with handmade ambition. Honestly, I wasn’t planning to bring any of this up. But Connor and Blair have punk bonafides, which means they’re unafraid and perhaps naturally inclined to talk their shit. Every late night I’ve ever spent outside a Memphis bar has been defined by too-loose scene politics shit talk. Why stop now? --- **Does anybody want some chewable vitamin C?** Blair: I feel like we’re operating an open-air… Connor: Holistic non-drug market. Blair: That’s what it’s like on tour is me giving out wellness vitamins—not for their own wellness, but for me. Like, “If you get sick, we’re all fucked.” **Do you think that instinct is focused on how the work can’t stop, or does it come from somewhere else?** Blair: I’ve been a teacher for a long time. I’ve done middle school, high school, and most recently, little kids. So that’s in there, and being on tour has been hard in a way, because it’s five people and you’re like “I trust you in taking care of yourself.” But caring for other people in that way is part of who I am. **Not to stretch, but that does seem to translate to the show.** Blair: Well, I love a little task, too—putting up the lights on the mic stands every night and doing like the papier-mâché props and everything. Like, I'm taking care of you guys because now I'm giving you more to look at. **You just closed out Gonerfest with a vibe that was pretty unique unto itself—how some fans seemed to show up specifically for your show and brought a specific energy. Do you think you’re cultivating something unique to your fandom or do you feel like that’s being closed-minded to other punk shows?** Blair: That’s such a nice, kind thing to say that I almost feel hesitant to take that compliment. I think what we’ve wanted with the band this whole time is to create that sort of thing for people. I went to punk shows for so long and never really felt that in punk music, necessarily. I didn't feel like it was a huge open community in that way, and so for us, at our shows, when young people come out and it's not really punk, it's not really hardcore—it’s something special. It feels that way to us, and yeah, that’s the highest compliment to me. Connor: I think in some ways it’s hard for us to take that compliment because we don't want it to seem like we’re putting anyone else down, but everything is so meticulously thought-out—from the setlist that we’re gonna play to how the songs flow together. The breaks and the samples, which we didn’t have tonight because the thing broke before, but normally there’s specific breakbeat samples. Blair takes a bunch of samples from people talking and different situations, like safety and all kinds of different things. Blair: Everything to Snooper is so intentional. I think about the way that we've put our social media together and everything. If you go to certain bands’ pages, they'll just post flyers for shows or whatever, and I can’t think of a time where I haven’t been obsessive. Of course if somebody made a show flyer, I want to share it, but if there’s an opportunity to make it myself or to make it part of the world building that is Snooper, I will do that. I think we’ve created a very intentional space. That’s what I love about being in this band is like the world building around it. People have chosen to live in this world with us in a fun way. **The way people make fan art for your band reminds me more of how people make fan art for wrestlers or anime characters. The iconography is very much at the front of what you do.** Connor: Other bands, because they don’t have an intense visual element, it’s more centered around the person who’s doing the songwriting or singing or whatever. And I think for us, we kind of want to be in the shadows, which isn’t a reality anymore. That’s more how it was in the beginning—just have the art be the wall that separates you from the band. Blair: There’s a certain type of niche Snooper fan for sure. \[*Pulls out a gray square bead art keychain*.\] Do you know what this is? **No.** Connor: \[*Pulls out a matching keychain*.\]When we got them, me and Blair couldn't figure out what they were. Someone handed them to us at the Palladium show, and then our guitarist—who hasn't been in the van very long with us—was instantly like, “That’s *Super Snooper*.” Blair: It's funny because I was super insecure about using the Bug at first because—you know *Don’t Hug Me I’m Scared*? A lot of times people are like, “Oh your art's like that.” And I'm like, “No!!!” I like that, whatever, but I didn’t want it to be cartoonish or gimmicky. But it is a bug. It’s such a simple thing that attracts a certain type of person that will come up to the merch table and be like, “Hey, can I show you my dice collection?” I’m like, “Yes, you can!” Connor: But to go back to the other thing too, I would say Snooper is built out of us just being super obsessive about everything too. Since the beginning of the band—coming from Goner culture, and we used to go to hardcore shows and hardcore culture and stuff—I'm really obsessed with: *There's gotta be a test pressing that has alternate art.* Like if there's multiple pressings, it's gotta have different art. Blair: When we started the band, I felt the need to change stuff all the time. I hadn't toured, so you think that when you do something, it's out in the world because it's on the internet, but when you go in person to a place you've never been and you don't bring the Bug, people are like, “What the hell? We wanted this thing!” And they're ready for it in a way that I wasn't expecting. So I've had to learn how to chill on certain things. Like the Bug, I felt like for sure, we're gonna do it once and then we're gonna switch it up every time. But it's been cool to see what people naturally latch onto. We have this silver guy that’s come into the picture a bit, so we did a funny video where this guy left us to be like a DJ in L.A. Connor: And there are aliases. Most people haven't caught on yet, but I think they'll figure it out later. On the lathe *Unknown Caller* one, there’s two silver people. One is DJ CD-93, and that’s me. And then you’re… Blair: DJ DSNTG3TIT. \[*laughs*\] ![Blair Tramel performs with Snooper at Gonerfest 22, photo by Adam Ziegenhals courtesy Gonerfest](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/10/DSC04864.JPG) Blair Tramel performs with Snooper at Gonerfest 22, photo by Adam Ziegenhals courtesy Gonerfest **You talk about being visually-oriented, object-forward artists whose variants can mark a moment in the band’s timeline. Don’t those objects serve the same purpose for your fans—tactile, physical reminders of getting revved up in the pit at your show?** Connor: For sure. Blair: It’s a lot of fucking work to bring all the visual stuff, and I remember when we first started doing it. Connor joked—and I love when you said this—he was like, “If you would have told me that I would be in a band that has a puppet or props, I would have been like, ‘What, you need something cool to look at? I have a cool guitar.’” Now, Connor will not do a show without props with Snooper because it’s part of it now. Connor: You changed me. Since this band started, we've had to turn down so many shows. Me and Happy \[Haugen\] drove 17 hours to New York just to have the props for one show. Immediately, the next day, \[Blair\] you flew in because you were teaching. We played the show, drove like 30 hours round trip, not enough money, but it was just like—we had to have it for the show. When we played Punk Rock Bowling, it was like we couldn't say no because we were playing with Devo, and we were like, “Should we just do a set without the stuff?” And we were like, “No, we'll just drive the van straight to Vegas for the one show and then drive it straight back to Nashville.” Blair: But we’re about it. It does make a difference, and when people pay for a ticket and stuff, they want to be in that world for a minute. Connor: Especially overseas. We get to a place two days early and Blair just sources all the materials and builds all the props every single time we go overseas, because we have to. It's part of who we are. I don't think we'll ever play a show, no matter how much money, if we don't have our stuff. We can’t do it. **In addition to the props, when I saw you play last year, there was a lot of coordinated movement—spins, jumping split kicks, that kind of thing. So you all clearly have a focus on showmanship outside of the Bug and the props.** Connor: Well, I mean, it goes back into the…that's like my only—it's not a gripe that I have—but like with the whole like Devocore/egg punk stuff, it's like people would talk so much about Devo, and I'm like, cool, it sounds like *Hardcore Devo*… **Wait, we’re gonna talk about the haters?** Connor: Everyone brings up “this band sounds like Devo” and I'm like, that’s cool they *sound* like Devo, but the *world* of Devo is all of the music videos, all of the props, all of the story behind it. **Right, I mean there was that whole argument about ambition. Sorry: Can we talk about the haters?** Blair: I love talking about the haters! **So there was that whole argument about lack of ambition within egg punk, and when you guys were tied into it as the primary target, your world building is specifically why that argument seemed off.** Blair: The thing about all that is we really don't care that much. And the fact that someone would be like “they need to work harder on their music” clearly doesn’t know anything about us. Connor: Let’s be honest, the thing we’re talking about specifically, I think, was about us signing to Third Man. It seemed like they—the person in question, the anonymous perpetrator—were accusing us of selling out, which is a classic dialogue that's been around forever. The thing about Third Man, I understand, I guess now, that other people look at Third Man like this crazy label based around—I mean, it is based around—the famous successful person Jack White. But for us, it’s like: I worked at the warehouse, our old drummer did sales there, \[Blair\] raised some of their kids. Blair: Babysat from, like, birth. Connor: And for us, it just felt like the local label. Nobody was like, “We’re gonna be rich and famous signing to Third Man.” Blair: To be quite frank, I think it was such a low blow. Truly, you can quote me on this: I have been supportive of that person and all the people that are hating on the band. And I have been so supportive to throw shows for those people, house those people, and it's just really ironic that I can support, and when I’m in a supporting position, it was fine. I think that it’s really so lame that when I’m outwardly saying, “Hey, I’m inspired by you, so much so that I’ll book a show for you or make a flyer for you or do art for you.” Or whatever. And then the second that I'm focusing on my own thing—the second that I'm there trying to do what *you're* doing—suddenly the tone switches. You were cool with me when I was booking shows. It’s such a funny thing. **The tradition of sowing division within punk.** Connor: Yeah, it’s been around since the ’80s. **Probably the ’70s.** Blair: And I think that those people would love to still say, “Oh we’re cool, it was just feedback!” But we work our asses off, and we wouldn’t be here if we didn’t because we really care about what we’re making. Connor: The other thing too is when that came out, what bummed me out the most is I agreed with a lot of his points. I do think there is a laziness to just totally ripping something off, but I mean that’s not happening in that one genre of punk. That happens in every genre of punk. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/10/DSC04699.JPG) Connor Cummins performs with Snooper at Gonerfest 22, photo by Adam Ziegenhals courtesy Gonerfest **My read on that whole thing was “the right way to do it is the way I do it,” which feels like a pretty common type of punk guy. I don’t know, punk rules in basements and punk rules on big stages. You guys have recently done both DIY spaces and bigger rooms.** Blair: Playing a small show and then translating it to a bigger stage is hard. I think that egg punk and microgenres like this one, being on this tour even with the Hives has felt really hard. And of course I’ve felt really insecure because it's hard to translate something kind of niche to a big stage. Connor: Also without losing yourself or trying to accommodate and be like, *Well, we should change certain things to be more accommodating to these people?* This is kind of a stretch, but when [Suicide opened for bigger bands](https://www.youtube.com/watch?v=27u1IwLjlUk&t=73s&ref=see-saw.fun), they would get booed off the stage every night and get shit thrown at them. It’s like, what if Suicide tried to accommodate those fans? It would be horrible. Blair: I think the insinuation is “Snooper’s selling out” or something. People within this subgenre feel as though it needs to exist in this tiny space, and I love that about it too. There’s something so special about that. And I think it feels as though we're traitors by taking this to people who don't necessarily fall into it naturally. **But punk is an accordion, right? Hardcore exists really small and then can expand out. Egg punk is doing a similar thing. … Sorry, let’s pause—do you identify as egg punk?** Blair: So many people do and keep putting us in that, so I don’t want to…sure. We’ll be that. \[*laughs*\] Connor: No, no, no, I think egg punk is fine. I’ve said this before, too, like I used to read these zines about like ’80s post-punk bands and when they got called post-punk, they hated it. That blew my mind. I can’t even imagine, like I would have to be like, *Well, OK this band is kind of coldwave*. It’s just easier to categorize: it’s kind of a post-punk band. **The idea that Snooper should make itself arbitrarily smaller because “egg punk should be small or is already over” are takes that aren’t interested in engaging with the work itself.** Blair: I think the craziest part of all of it for me was that people really cared on the opposite side of things. Someone wrote a manifesto about—not to toot our own horn—how important our band was to them. It was a 10-page document. Someone wrote a thesis statement at their college about it recently and sent it to us in the mail. About this whole thing! I think people really were hurt by it who bought into the Snooperverse. We’re making whatever the fuck we want to make and no matter what it feels like, we’re gonna be pigeonholed into that genre. “Running” isn’t an egg punk song. It’s kind of goofy to us. **Gonerfest is this mix of bands that are theater ready, and then you’ll see some strictly-for-sickos shit at an aftershow. Dogmatic “there’s a right way to exist in music” arguments don’t really mesh with the reality of how events like this work.** Blair: I think the critique that I took from it, which was a bummer, was like: I’m having fun making music that I want to make, and I’m making this world that I want to make, and it’s such a fun thing. Someone being able to say that I’m not working or being thoughtful enough about it is so messed up. I think that’s just so lame. Imagine telling someone who’s enjoying what they’re doing that they’re not thinking about it enough. And then I got really in my head. Even with \[*Worldwide*\], I've had such an amazing time working on these music videos for this record, but I was getting really in my head about it not being “serious enough.” That is not who I am. I never was thinking about anything, and then someone bringing that awareness to stuff was a bummer. It’s been hard to move past that. **Having grown to the point where you are now, Snooper’s aesthetic and creative trajectory has looked pretty organic from the outside.** Blair: We have no idea how we got to… everything that's happened with Snooper has been so outside of our control. **I mean, it’s labor. You guys tour nonstop. How many shows did you play last year?** Blair: I think it was 176 total days on tour. **That’s how you got here, right? If you put yourselves in front of people’s faces that broadly across that many days of tour, you’re probably going to reach a different level.** Blair: Not to like…but we do it because we love it. We do it because we really are about the world that we've built for Snooper. We’re living in that world. **But going back egg punk as elastic—this music that can exist big or small—the early influential egg punk works were put out in a very guarded way.** Connor: Which it has to be said, they’re acting like they didn't know what they were doing by dropping singles or cassettes where you couldn't even get them. Then why even put them on YouTube? Blair: We just want different things. I think about like Arab on Radar—they took all their videos off and there’s a certain protectiveness. I haven't felt the need to be so guarded with Snooper. Connor: Even talking to Ben Wallers from Country Teasers recently, I did like a cover and he was like, “I'm so embarrassed of the lyrics I wrote.” He was like “that's when I was drinking,” and I think it’s OK to look back and be like “I didn't like what I created” or “maybe the social aspects were different.” I think it's OK to go back and be like, “I feel a little embarrassed, maybe the music I was making felt like kids music at the time.” But then why shit on everybody else about it? **My first writing sucked because I was just starting.** Connor: Especially with my earlier bands, I’m embarrassed by a good amount of the stuff. But I would never have someone come up who was like, “Hey, I loved this band they used to be in.” And then respond like: “You’re a fucking idiot because you like that music. You need to listen to my new shit because that stuff was made for babies.” It’s like, what the fuck? Blair: Martin Meyer telling me that I need to be more thoughtful about my music is like: You don’t tell someone to grow. *Oh you know what? We’re growing all the time as a band.* And I think that’s the double-edged sword: Is that pissing you off? That is what’s happening. We’re making different music already. **When you hear about people struggling with their old music, it feels like it boils down to where they’re at with themselves.** Blair: Hayley Williams plays “Misery Business” every time because people love it and people have connected with it. You can’t choose what people connect with sometimes, and sometimes things take on a life of their own. Like “Running,” “Fitness”—I hate lifting the weight sometimes. I’m like, *God*. It feels sort of gimmicky to me at this point, but people will ask for it and they go crazy. It’s fun, and as soon as people get into it, I’m re-inspired by the community that’s into it in front of me, and then we have fun! We’re not doing anything that doesn’t feel genuine to us and the community continues to build around these things. Connor: What keeps me grounded is that in the beginning of Snooper, none of the 7-inches had synth on them. People would refer to us—before egg punk—they called us synth punk all the time. Did you even listen to the music or are you hating just because someone told you to hate on us? You didn’t even form an opinion. “I don't like that synth punk band.” Blair: I think genres and categories make people feel safe, but it's the psychological thing of *people like to identify things*. It's what makes us human. I think it feels weird to people when they can't classify something. We've been on so many hardcore shows and people are like, “But you're not hardcore.” And I'm like, “Great, then I'm just me now.” Because if every subgenre of everything is gonna be like, “But you're not actually,” great! I’m literally making exactly what I wanna make and that’s awesome. I used to care so, so much about that shit, and I think Snooper is a safe place for people who are always going to things and feel like “you’re not punk enough, it’s not hardcore.” Connor: Even when I was a kid in noise, punk, and d-beat bands, older punks who would only listen to classic punk would be like, “You guys are posers, you're only into super niche stuff.” And then the other extremely d-beat noise punk people would be like, “You guys are posers, you guys aren’t going hard enough.” Then later in life when you’re playing in a post-punk band, they're like, “Oh man, I liked when you were playing in hardcore bands.” Blair: I so badly wish I could go back in time and find 20-year-old me at a show and be like, “Hey, it’s gonna be okay. One day you’re gonna be in a band and people are still gonna be trying to ice you out of genres, but it’s gonna be okay.” ![Connor and Blair with the Bug and the Tee Vee Repairman crew at Gonerfest 22, photo by Sean Davis courtesy of Gonerfest](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/10/Snooper-16.jpg) Connor and Blair with the Bug and the Tee Vee Repairman crew at Gonerfest 22, photo by Sean Davis courtesy of Gonerfest **When you released that Spodee Boy track “Moonrise Canyon,” that’s the perfect example of you making something for yourselves. It rules because nobody was asking for it.** Connor: I used to always have my hardcore band and then there was a solo project and then a post-punk band. When Snooper started, we started working on it all the time, and it was basically like, *All right, now I'm gonna try and blend all the things I love together*. That’s *Worldwide*. But I was feeling very scared to do it, then that stuff came out and they were like, “This band sounds like CCTV.” I'm like, *You guys don't even listen to the songs!* Blair: I think the hard part for me was the bullet that Martin was trying to get to, it was more aimed towards Connor’s songwriting. It’s a female-fronted band, so I was the one that kind of became the person where it was like, “What’s your response?” And it felt so clear that it was intentionally trying to be hurtful to the songwriter of everything. Connor writes very specific music, and I’m Connor’s biggest fan musically. And that sucked. Connor writes everything at home. I love what you make so much that I make weird vocals to it. It has just been genuinely great. And I think that people hate on you because look at this band—look at how far we’ve come. You’ve worked your ass off for this because you love playing music. Connor: We also just made the stuff we wanted. In closing: Everyone always says that we ripped off CCTV and Coneheads. Uranium Club was *much more* the inspiration—*way* beyond CCTV and all that stuff. The [*Music for Spies*](https://www.youtube.com/watch?v=tWIeV6LAP%5FU&ref=see-saw.fun) 7”? I wasn’t trying to rip off the Coneheads. **You were trying to rip off Uranium Club!** Connor: I liked Uranium Club! ’Cause it sounded like the Ramones played really fuckin’ fast. --- *see/saw is a reader-supported publication, so if you enjoyed this article, please share it and* [*subscribe*](https://see-saw.fun/#/portal/)*.* ### punk this week: possible humans, black eyes, shakti + 17 more URL: https://see-saw.fun/punk-this-week-possible-humans-black-eyes-shakti-17-more/ Last updated: 2025-10-14T18:00:16.000Z Hey, it’s [Punk This Week](https://see-saw.fun/tag/punk-this-week/), see/saw’s weekly punk and rock'n'roll recommendations column. With the long-awaited return of Black Eyes and the slightly less long-awaited return of Possible Humans, it was already a huge week. We also got new music from Shakti, Eddy Current Suppression Ring, Angel Face, Abism, Endless Joy, Segundos Auxilios, Watermelon, Blood Cannery, and so many more. If you want to read about all the records, this week and every week, s[ubscribe](https://see-saw.fun/punk-this-week-silo-kids-added-dimensions-genre-13-more/#/portal/) to see/saw for $4/month or $40/year or [barter](https://see-saw.fun/bartering/) to read about all the records this week. (There’s a two-week free trial, too.) That gets you this weekly column delivered to your inbox, plus [bonus podcast episodes](https://see-saw.fun/see-saw-jukebox-05-no-ages-randy-randall/) and the [see/saw radio archive](https://see-saw.fun/see-saw-radio/). You also get the knowledge that you’re supporting a fully independent operation that only exists due to the kindness of readers. Thanks for your support and happy reading. --- **Possible Humans:** [***Standing Around Alive***](https://hobbiesgalore.bandcamp.com/album/standing-around-alive?utm%5Fsource=album%5Frelease&utm%5Fmedium=email&utm%5Fcontent=fanpub%5Ffnb&utm%5Fcampaign=hobbiesgalore%2Balbum%2Bstanding-around-alive) **\[Hobbies Galore\]** The proper debut album from Possible Humans, 2019’s *Everybody Split*, was some undersung sprawling guitar comfort food. Their follow-up *Standing Around Alive* (released on this side of the world by the great Trouble in Mind Records) comes as a massive and wonderful surprise. It’s a patient rock’n’roll record that’ll settle you into its sprawl before knocking you out with a punchline, a sour note, or a big scuzzy guitar solo. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/10/a1536733589_10.jpg)](https://hobbiesgalore.bandcamp.com/album/standing-around-alive?ref=see-saw.fun) --- _This post is for paying subscribers only._ ### see/saw jukebox: no age’s randy randall URL: https://see-saw.fun/see-saw-jukebox-05-no-ages-randy-randall/ Last updated: 2026-06-04T22:12:53.000Z [*see/saw jukebox*](https://see-saw.fun/tag/jukebox/)is a bonus podcast from *Punk This Week* hosts Nina Corcoran and Evan Minsker. It’s available exclusively to [paid see/saw subscribers](https://see-saw.fun/see-saw-jukebox-04-citric-dummies-drew-ailes/#/portal/). ($4/month or $40/year or [barter](https://see-saw.fun/bartering/) \+ there’s a two-week free trial.) In each episode, Nina and Evan are joined by a guest. Then, all of us pick a perfect punk record to add to the idyllic punk jukebox of our minds. This time, we’re joined by [Randy Randall](https://www.instagram.com/randysrandall/?ref=see-saw.fun)—one half of No Age, producer extraordinaire (including that new Lifeguard album!), and host of the [*Hyphenate*](https://podcasts.apple.com/us/podcast/hyphenate-with-randy-randall/id1700516701?ref=see-saw.fun) podcast. We’re talking about day jobs, Juicy Couture, mascot work, the Banana Splits, riff writing, and of course, jukeboxes and perfect punk records. What gets added to the jukebox this time? [Subscribe to see/saw](https://see-saw.fun/see-saw-jukebox-04-citric-dummies-drew-ailes/#/portal/) and listen below! --- _This post is for paying subscribers only._ ### playlist: the best punk songs of september 2025 URL: https://see-saw.fun/playlist-the-best-punk-songs-of-september-2025/ Last updated: 2025-10-08T18:50:44.000Z Eleven days ago—hours past my usual bedtime—I locked eyes with [Wesley](https://see-saw.fun/wesley-and-the-boys-are-the-best-memphis-band-from-nashville/) while he screamed “fuck Kermit” at the B-Side in Memphis, and something inside my chemistry shifted. One of the most exciting live punk bands in the world beckoned me specifically into the pit, and suddenly I was a ragdoll being shoved around a Memphis bar. It was a familiar feeling, even though it’d been nearly a decade since I’d stayed up way too late for Gonerfest aftershows. Some combination of adrenaline and fatigue meant I was gleefully burning the candle at both ends. I’d pay for it later, but in the moment, there wasn’t another option. Showing up to Gonerfest without much of an agenda meant talking to dozens of my favorite people from around the literal world without a break between cup-filling conversations. I lugged records back with me across the country. A friend sent me a photo of a see/saw sticker that they put on their cassette case, and after I thought to myself “I didn’t hand that person a see/saw sticker,” they revealed they found it on the ground during an acid trip. It seemed like reality came crashing down right after it was over, and not just because I got super sick. A bunch of international acts had to cancel their appearances, some at the very last second, due to border issues. Days after the festival was over, the feds and Stephen fucking Miller descended on Memphis. But if you carry anything with you after a big punk festival where you rally after a late night because you’ve got to go see Radioactivity and Nape Neck and Eraser and so on, it’s this: Throw yourself into the mix. Don’t arbitrarily preserve your energy. Expend it when it matters. [Subscribe to see/saw](https://see-saw.fun/#/portal/) for free or, if you can, for money. Here are some [favorite punk songs from the month of September](https://www.buymusic.club/list/seesaw-best-punk-september-2025?ref=see-saw.fun). [**the best punk songs of september 2025**](https://www.buymusic.club/list/seesaw-best-punk-september-2025?ref=see-saw.fun) Citric Dummies: I Am Your Napkin Billiam: New Wave Nape Neck: The Shallowest End Search Results: Excruciating Heights Luxury Apartments: Troubling Time Radioactivity: Time Won’t Bring Me Down Silo Kids: Silo Kids Haram: Secret Lothario: The Animal Boy Commandos: Doesn’t Take Alot Wreckless Eric: Lifeline The Dissidents: No Air The Prize: First Sight Fan Club: Cancer Speed Week: Subdivision No Peeling: Bank Holiday Genre: Deathrow Tigers and Flies: Hulme Highstreet Ablaze Heather the Jerk: Anxiety Added Dimensions: Self Improve Optic Sink: Don’t Look Down Twisted Teens: Everyone Josie: My Boy and I Street Eaters: The Point SLOKS: Fresh Quitters: You (Yeah) Bee Bee Sea: Keep It Cool Watermelon: Rock N Roll Boy Grub Time: South Carolina Jacket Burner: Deadbeat Dad Technopolice: Sortir Le Soir Home Front: Light Sleeper Property: Exorcise Eggplant: Сидячка Sklitakling: Tror deg ikkje House Arrest: Not Much You Know GAMMA: Whirlpool Ameretat: Marg-e ye Doktor Faulty Cognitions: Arsonist Dancer: Baby Blue Traidora: Una Mujer Trans Sin Pais JJ and the A’s: Roadkill Punio: Ylistämällä alistettu Power Pants: You Can’t Catch Me Mujeres Podridas: Sol GOB: Infantino Mitraille: Fuck You I’m Going on Tour Big Modern: Head in a Toaster Piso Franco: va! Sweet Fantasy: JKFU Bugg Music: Bugg Season Yuasa-Exide: Hippie Hardcore The Icks: Pressed Loose Lips: Comin’ Home Gee Tee: The Sound at Home Robber: Dog Eat Dog DOGA: Posesión Поспишь Потом: Съеби Holly and the Nice Lions: Nothing Wild Liiek: I Don’t Want to Fight Hirnschraube: Hardwarestore Flower Girls: Californeeway Screen Star: Cop City Rhizome and the Flavonoids: Robojerk Blank Chamber: Sanctimony Sakura: Violencia Quintron and Miss Pussycat: Rotten Egg NÃO: Aestesis Vibrator: Bag The Vasco Era: It Wasn’t Supposed to Be Like This das Lator: Kétéltű Ember Norm Dogs: Stains Besta Quadrada: Running Restraining Order: Were You There Ryan Kidd: I’m On the Outside Blind Butcher: Hekate Martin Savage Gang: Such a Drag SIX: Fire Breathing Beast Greg Wheeler and the Poly Mall Cops: Slimephone (You Can’t Hide) LÁZ: ÁLTALÁNOS ÉLETKRÍZIS MAGYARORSZÁGON Teenage Hearts: Gotta Get Rid of You Glass Dolls: Notion The Fill Ins: Swimming Around saafewaay: Rock Lobstar Cold Comfort: Tommy Two Sheds Angel Face: Out in the Night Winston Hytwr’s Perfect Harmony: Laughing Night Talkers: Out Into the Night Spite House: Desert TOUCH: The Essence of Life Narco: SHAKEY Today’s Milk: Dream in Color computer fight: Helen Keller Electric Prawns 2: Beef Alibi: Irgendwas Ist Immer Pocket Bike Racers: Terminal Arcade Love Plastic Meat: Rust copies: lilian’s song Cool Whip: Trapt Point Break 2: Hall of Justice Cold Summer: Grenzzaun Pegamento: Pegamento Prise Rapide: Partir Bluff City Vice: TV Screen teenage earthquake: i don’t care Mercy: Mercy Sklitakling: Kem Bestemmer? Flippeur: Boo Teenage Tom Petties: Tough Cookies Petal: Foreign Policy Peter and the Skeeters: Shagged at the Graveyard Rata Negra: Sobrepensando Fléches: Bestial Feral State: Concrete NOHZ: Broken Teeth / Eyes Gouged Out Permafried: Bursting at the Seams STATICØ: Violent Dreams Territory: Tunnel Vision Flux: Flux Your Head Decayed Spirit: Factory Life COMMANDO: Panique HONG!: Amburadul Skewed: Skewed Sheepsfoot: The Front I.C.B.M.: I.C.B.M. ### punk this week podcast 53: snooper + bb bomb URL: https://see-saw.fun/punk-this-week-podcast-53-snooper-bb-bomb/ Last updated: 2025-10-07T17:36:08.000Z [Punk This Week](https://see-saw.fun/tag/podcast/) *is see/saw’s free weekly podcast from co-hosts Evan Minsker and Nina Corcoran—a discussion of the latest and greatest in the world of punk rock. We talk about six new punk records we’re loving from the past week.* This week, Evan has a new crisis when he asks how do you carry your stuff around a music festival when you don't want to get your back all sweaty? Evan and Nina reveal their Menards-specific text exchanges, Nina plots an interview with the suburban Menards pianist, and we discover the return of Reggie! Bars. All this plus we discuss new ones from [Snooper](https://snooper7.bandcamp.com/album/worldwide?ref=see-saw.fun), [BB BOMB](https://bbbombband.bandcamp.com/album/practice-songs?ref=see-saw.fun), [Total Con](https://brainrotterrecords.bandcamp.com/album/this-whole-world-is-gonna-pay?ref=see-saw.fun), [G.A.Z.E.](https://g-a-z-e.bandcamp.com/album/g-a-z-e?ref=see-saw.fun), [NULL](https://null818.bandcamp.com/album/null?ref=see-saw.fun), and [the Etters](https://www.youtube.com/playlist?list=OLAK5uy%5Fmr2zmHIqMAgpaEzYfqUpxQ1ILH6wFd7bg&ref=see-saw.fun). [Donate to Tony Milek’s recovery fund on Gofundme](https://www.gofundme.com/f/support-tonys-post-amputation-recovery?attribution%5Fid=sl%3A4a42fbb2-acbb-4370-8a90-577e83318390&utm%5Fcampaign=pd%5Fss%5Ficons&utm%5Fmedium=customer&utm%5Fsource=copy%5Flink%5Fmodal&cdn-cache=0&fbclid=PAZXh0bgNhZW0CMTEAAafcqXtTjr6faR2NjsxyE%5F-Sw2TyA0inO1%5FZwxLLB7-ivdPSk7Gq0QNNwKdAJg%5Faem%5FE2MTpqxPvuxvHx-PjwgnLA). --- Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.fun). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/see%5Fsaw.fun/?ref=see-saw.fun) and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). Have a question you’d like to hear addressed on the show? Want to talk about a new record we didn’t discuss? Want to send a HARD PIVOT or NO AMERICANS bumper? Join us on the see/saw [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun) or email us: [see-saw@see-saw.fun](mailto:see-saw@see-saw.fun). *Punk This Week* is made possible by see/saw subscribers; please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-52-added-dimensions-silo-kids/#/portal/) if you enjoy this podcast. You’ll learn about way more punk records than we can pack into the pod! ### added dimensions’ sarah everton reveals her added dimensions URL: https://see-saw.fun/added-dimensions-sarah-everton-reveals-her-added-dimensions/ Last updated: 2025-10-06T20:31:12.000Z I always associated Sarah Everton with Philadelphia and her former band with musical and life partner, Rob Garcia. That project kept busy enough to change its name from Reading Rainbow to Bleeding Rainbow, expand their lineup from two to four members, and explore several sonically distinct eras; but always anchored by Everton’s penchant for punchy earworm melodies, and thoughtful lyrics. So I was stoked to learn that the couple had relocated to Richmond, Virginia (where Everton is originally from) and already played at least one show as [Added Dimensions](https://added-dimensions.bandcamp.com/album/jane-from-preoccupied-america?ref=see-saw.fun) with Outer World’s Erin O’Hare on bass. Everton and I met up on an idyllic afternoon in August at a picnic table in Libby Hill Park. We were up on the edge of Richmond’s Church Hill neighborhood where rolling hills lead your line of sight to a postcard-caliber view of the James River and the city’s expanding skyline overhead. Sure, the water way below runs a perennial crap brown and the Lucky Strike smokestack turned-luxury-lofts seem to mock their former factory workers who could never afford the rent (and even if they could, they wouldn’t be allowed to smoke inside). But it’s as close to paradise as you’ll find in this zip code. If only you could have seen the parade of cute-ass dogs strolling around the park while we talked. Since those peak summer hours, soldiers have been sent to Washington D.C. with further threats—at the time of writing this—to dispatch to Chicago, Portland and Memphis. Added Dimensions’ new album [*Jane from Preoccupied America*](https://added-dimensions.bandcamp.com/album/jane-from-preoccupied-america?ref=see-saw.fun)—released earlier this month on the Portland-based gem, Domestic Departure, is a fitting update to the Swell Maps’ allusion to WWII on the title to their roughshod post-punk masterpiece *Jane From Occupied Europe*. Added Dimensions’ new one could be the last great album of the year, and at this rate, the whole damn empire as we know it. For their part, the band are a unique breed in Richmond and self-realized by their own make and design. Their sound is peerless, at the moment, but also at home on bills with a smattering of variously styled punk bands, including garage, psych, art, egg, synth pop, shoe-gazi and so on. --- **Did Added Dimensions start here in Richmond?** It started in the Charlottesville area. We briefly lived near there while Rob was a high school teacher for a minute. It turns out he hated being a teacher. He also chose a terrible time to do it. I knew I was gonna start another thing, and I knew it was gonna be called Added Dimensions. I was super, super depressed also. And so it was great working on that. I was wanting to be able to be more prolific ’cause with Blow Dryer and other stuff, I always had a job that kept me from being creative and productive. I was always kind of recovering from working. **When was this?** 2022 was when my self-titled tape came out. **When was Rob’s teaching gig?** It started in 2019 in Philly. And then he was co-teaching and then he did his first year in Philly, remote. And then we knew we wanted to move, but we weren’t sure if we were gonna move out of the Philly area. My brother lives in Charlottesville and he’s actually a teacher. I kind of had this feeling, I was like, *Maybe we should move to Richmond.* But when you’re not from Charlottesville, you’re like, *It’s so pretty.* And at least it’s, like, liberal, even though it’s fucking neo-liberal hell. I love a lot of things about Charlottesville, but I also really hate it. We knew it was expensive, but the cost of living in Philly is at its worst. We thought it would probably be on par. But it was maybe worse. We had to live like 30 or 40 minutes outside the city. We lived in this beautiful area. It was like living at an Airbnb in the country, but all of our neighbors were old. And there were no sidewalks anywhere. You couldn’t go for a walk. There was no cell phone service and we were really cut off. Rob also got really depressed. We were both super depressed. It was bad. It was really bad. **Is Added Dimensions a solo project?** Basically, yeah, because I write everything. I demo everything out. The only thing I don’t write is the drum parts, ’cause I don’t give a shit about drums as long as they’re the right tempo and they’re not over the top. I like simple drum beats. So I’ll have demos fully fleshed out, and then occasionally I’ll have a couple of songs where I’ll have notes like, *Oh, I know I wanna make it longer*,or, *I want there to be an intro, or a guitar solo, or a single lead part.* And then being able to record with Rob is perfect. He’ll be like, *OK, just start.* He’ll play back the tape and then I’ll start playing different parts over it. So he helps me process it in real time. He knows what I’m going for, and we know each other so well and I trust that his taste is always right. So it’s great. But yeah, I definitely feel really protective over it. I’ve had bad experiences in the past with collaborating. I don’t think bands should ever be a democracy. Obviously, you can see I put my foot in my mouth all the time ’cause I make really declarative statements, but there’s huge exceptions. In my experience, it does not work. But it doesn’t mean you have to be a dick. **What are the other scenarios for band rule and order? Like have you been in bands that were total anarchy? Or a band that was a monarchy?** Basically there’s two different experiences. When you’re really young and don’t really have any experience and you’re just enthusiastic and excited, you’re like, *Yeah, I wanna try everything.* Like, *Yeah, it’d be fun to try to record in a real studio.* Or: *It’d be cool to collaborate with other people.* And you think, *Oh, it’s bad to be a control freak. Oh, it’s bad to be the only one coming up with the parts—*that you’re cutting yourself off to so much creativity by not collaborating. People have straight-up said that to me and Rob before. I have to be able to process stuff long enough before I know how I really feel about something. I will have a gut feeling: *This sucks. This is stupid. This is corny.* And then it’s you against three or four other people and a producer, and you’re the one person, maybe the one woman, who has a problem. It’s very hard to be like, *Hey, uh, I think that production you did is fucking corny as hell and I don’t like it.* You’re just like, *No, it’s fine. It’s fine.* Another band I was in, which I loved and it was great, was also the most undisciplined band. The whole vibe was: It’s just for fun. We started it that way to keep the stress down, but I’d try to nudge everybody into trying a little bit harder, you know? It never really worked. But it was still really fun. That was a good experience. That was closer to anarchy ’cause I was in charge. But I cannot be in charge. Even though I just said I’m in charge of Added Dimensions, it’s different. I don’t like telling people what to do. **How would you classify the band then as a social structure, or political system?** I was just talking about this earlier today. I wouldn’t say it’s a dictatorship. I actually think it’s easier to equate it to a really problematic small local business. Like a dysfunctional, toxic, small business, where everything that sounds like it should be bad is actually good. Now I have to backtrack and figure out how to explain what I mean. ... OK, here’s a good example. So if you work at a local business and they do the whole shit where they’re like, *“*We’re a family,” and then you get really sick and you’re like, “I need to take time off. I’m so sick. I dunno what to do.” They’re like, “Yeah, I’m sorry. We’re gonna have to let you go.”And it’s like, *I thought we were a family?* Now flip that around. If it’s a band, I can separate personal shit from band shit now that I’m older and have more experience. But basically if somebody in your band was chronically sick, you’d be like, “Hey, I wanna support you in any way possible. When you’re better, I want you to play with us again. But right now you can’t be in the band.” The band’s not gonna end or go on a break. You know what I mean? The cool thing about a band is that you can still be a good friend and be that way. This is also why I could never have employees, ’cause I would not act like that if I was actually a boss. I would never be a boss. **So if Rob broke his hand...** Oh yeah. He couldn’t play. You find a different drummer, but then that’s why it’s not the perfect metaphor because it is so different. Rob would be like, “Of course you need to find someone to drum while I can’t do it.” When Erin started playing with us, I told her from the get-go: “You’re a really great bass player and I really like you a lot. That being said, when we record, it’s just gonna be me and Rob. And if there’s shows that we really need to play and you can’t do it, do you wanna get somebody that can fill in?” And she was totally cool with it. It’s just a matter of being upfront at the beginning ’cause otherwise it’s easy to get your feelings hurt. A bunch of musicians are very sensitive. That’s why it’s so hard when you’re younger. You’re all sensitive and confused and don’t know how to take charge or communicate. **I first became aware of your music through Reading Rainbow and then Bleeding Rainbow. I know that probably had different eras, but in hindsight, how would you characterize your experience with those bands?** I can explain it in a hindsight type of way. Reading Rainbow should have just lasted for two albums and then stopped. And then we should have figured out something else. Because at that point I realized I did not like playing drums. I started because it was so visual. Rob could literally stand behind me and help show me the visual pattern of how to play the song. We collaborated on songs and stuff, but it was mostly him. And then he would straight up just tell me what drum parts to play. I could jam in a Moe Tucker way. But I just wasn’t a good drummer and it couldn’t be sustained. I was really reluctant to switch to bass because it’s such a fucking trope where what happens is you’re the least experienced and you end up getting put on bass. Ever since I was 13, I wanted to play guitar. I just needed to be able to play guitar so I couldn’t. And then, yeah, Bleeding Rainbow, I remember at the time we changed the name, I was like, *It’s the same band. It’s the same band.* No, it was a very, very, very different band. And I’m trying to think of ways to say things about it that aren’t throwing certain people under the bus, but I cringe a lot when I think about that band. I think that was the result of Rob and I being manipulated and losing control. The way we each write songs—the way we write songs together—we need to be the ones to write the song. We don’t need a producer to be like, “Let me put this cheesy fucking laser effect over top of everything.” It made me feel not like myself. There were aspects of it that were great and I had a lot of fun at different times. Everybody that ever played with us in that band, I love them. Even if I haven't talked to some of them in a long time. Everybody’s a good person. That band was a fucking disaster though. ![Added Dimensions’ Sarah Everton, photo by Amy Robinson](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/10/image4.jpeg) Added Dimensions’ Sarah Everton, photo by Amy Robinson **Now you have this solo project that’s been increasingly active and the batting average is sky high.** That’s why I have such intense control over it. OK, so being formulaic, that’s bad. But when you have a really good, basic formula that you build on and can still be innovative and creative, you need to stick to that formula. The formula is I write all the songs myself. I demo them out. I share them with Rob. We record them together. And that is it. It doesn’t get weird. And so I’m like, *Why would I change this?* **Are lyrics important to you?** Yes. The very first band I was ever in, it was actually also with Rob, the lyrics were so bad, but they were bad on purpose because we were so young and embarrassed by lyrics trying to be too sincere. Or like writing lyrics you think are good, but then you look back on and you’re embarrassed, or everybody else is cringing. So I was like, you know what? Let’s just write bad lyrics on purpose. I am the type of person where I can enjoy songs even if the lyrics aren’t good. I would prefer that they at least be buried so that they’re not distracting. I think people put so much time into the actual music writing that they’re like, *God damn it, I have to write lyrics.* So I incorporate it into the demo process so I don’t leave it to the very end. Plus it helps me with the structure of the song. I’m kind of shocked, I’ve come around to taking it very seriously. I have the same four or five themes running through all my shit. **What are your lyrical themes?** Neurodivergence and masking is a big one, and then a lot of shit will have more than one theme in there. One is definitely politics. A huge one that’s in all of them is being overwhelmed. I get overwhelmed by literally everything. Good and bad. I process stuff very slowly and which actually I think it’s because my brain goes too fast. So it’s counterintuitive. It’s like it moves so fast, it makes me process slowly. Another one is writing sarcastically from the perspective of the type of person I fucking hate, which is also what I’m terrified of being myself and what I’m afraid maybe I’m turning into or could turn into. I also have a song about what it must be like to not have mental illness, or anything different with your brain. **Which one?** “A Midtempo Mind.” It’s basically what it’d be like to not have anything going on, you know? **So, more sarcastic?** It’s genuinely curious. Like, *Oh my god, are there people who don’t have brains that are always going crazy all the time?* Like, *What’s it like to not have mental illness? What’s it like to not have ADHD or OCD?* I can’t even imagine. I know people that are like that, and they’re great, but I’m also just like, *How do you feel about things? How do you emote?* I don't even know. I’m having trouble even talking about it ’cause I just don’t understand. So it’s a little bit sarcastic ’cause I'm both jealous and I’m relieved that I’m not like that. **It’s a such a fine line between sarcasm and sincerity—they’re close cousins.** One of the best examples would be “Tell Me What to Do,” which isn’t on the album but is really sarcastic. It’s also really funny ’cause I love when people tell me what to do. Well, I do in certain contexts. I hate authority, but I also get indecision paralysis. “See-Through” is sarcastic. The verse is almost like the Democratic Party and then the chorus is the Republican Party. And I fucking hate both of them. **On your split cassette with Almond, which benefits the Transgender Law Center, each side has its own title. You don't see that often on splits. Your side is called “Uppers.” How linked are the themes of that material?** Because we were self-releasing it, we knew it had to be on a cassette. And I hated the idea of only having like two songs each. If we have the ability to have it be longer, it should be so. His side is almost 20 minutes and my side I think is a little bit longer than 15\. It felt like, okay, well this is more than just like a split. We each have our own thing. I thought calling mine “Uppers” is funny because, his are all psychedelic and sludgy and then mine are fast and twitchy. Speedy. Like what drug was the person on who wrote this? Amphetamines, you know? **How’d you land on the album title?** Honestly, what happened was I wrote the song “Preoccupied,” and the thought popped in my head: *Jane from Preoccupied Europe*. I thought that was funny. And then I was like, *Wait a second.* I thought it was really stupid. Then the more I thought about it, the more I was like, *Oh my god, no, that’s perfect.* It feels exactly like what all the themes of the album are. The idea of people being overwhelmed and inundated by bad news and horrifying things. All the cliché shit of looking at your phones, being on the internet all the time. And then it also references the idea of a country being occupied, which it feels like that’s what’s happening. And then I love Swell Maps. So yeah, it just popped in my head. **How’d you link up with your label Domestic Departure?** I know Erica because she really liked Blow Dryer. Then I became familiar with Collate and they’re fucking awesome. We got to play together in Philly, like Blow Dryer did, and that’s when I met her in person. Then when I released my first tape, she ordered one and she included the message: “Hey, if you ever want me to release anything, like, let me know.” So I was like, “Hell yeah.” That’s how the 7" happened. Then I didn’t realize she was considering winding the label down because of costs. I was unaware of that, so I approached her about doing a full-length album and she was like, “Hell yeah, I’ll do it.” I found out afterwards through mutual friends that she was thinking about folding and then I was like, “OK, do not feel like you have to do it. It’s totally fine.”But she insisted and said, “As long as Collate is a band, it’s gonna exist anyway.” It’s so great and so generous and awesome of her to release it because everything she releases is so good. She understands me. Like, I feel like we have a really good relationship and she gets my music so well without me having to explain it to her. It feels so good to be understood. --- *see/saw is a reader-supported publication. If you enjoyed this article, please share it and* [*subscribe*](https://see-saw.fun/#/portal/)*!* ### punk this week: snooper, split system, the etters + 14 more URL: https://see-saw.fun/punk-this-week-snooper-split-system-the-etters-14-more/ Last updated: 2025-10-03T15:58:09.000Z Hey, it’s see/saw’s weekly punk and rock’n’roll column [Punk This Week](https://see-saw.fun/tag/punk-this-week/). Well, kind of. To quote my friend Zach Mitchell, I have contracted the novel Gonervirus and don’t quite have it in me to write 2,000 words about new records + embed a bunch of pics. Sorry. Instead, here’s a brief rundown of what’s new this week that’s really good. This sick day half-column is free. Punk This Week is usually only available to paid subscribers, who get a more robust version of this that’s over twice as long (in terms of word count) delivered to their inbox each week. see/saw should be back at full speed next week. [Subscribe](https://see-saw.fun/#/portal/) to see/saw for $4/month or $40/year or [barter](https://see-saw.fun/bartering/); there’s a two-week free trial. There’s plenty of stuff if you subscribe for free, but if you pay a little money or barter, you’re supporting a fully independent music writing and broadcasting operation. Read some of the recent [features](https://see-saw.fun/tag/interview/), listen to the [podcasts](https://see-saw.fun/tag/podcast/) and [radio shows](https://see-saw.fun/see-saw-radio/). Rest assured, there’s a firehose of punk coverage just around the corner. --- Snooper’s [*Worldwide*](https://snooper7.bandcamp.com/album/worldwide?ref=see-saw.fun) is an outstanding document of why the hype is deeply warranted. This record is all propulsion and grit-via-glitch, taking some absolute hit songs from the recent past and tightening the screws impossibly further. It’s somehow “better” but not ”overpolished.” I’ve got an interview with them coming soon to see/saw, but this one deserves your time today. Split System, Melbourne punk warriors who’ve been dropping killer singles all year, come through with one of the best punk tracks of 2025: “[No Cops in Heaven](https://splitsystem.bandcamp.com/album/no-cops-in-heaven-pull-the-trigger?ref=see-saw.fun).” For more anti-cop heaters, try Nashville’s Screen Star and their new EP [*Cop City*](https://knucklesonstun.bandcamp.com/album/cop-city?ref=see-saw.fun). A pretty big surprise this week comes from the Dutch band the Etters. Their new album is called [*The ETTERS maken je hartstikke DOOD!*](https://www.youtube.com/playlist?list=OLAK5uy%5Fmr2zmHIqMAgpaEzYfqUpxQ1ILH6wFd7bg&ref=see-saw.fun) and it’s some pretty exceptional Rip Off Records worship. It’s amazing that rock’n’roll still exists in this shape in 2025\. Not on Bandcamp, so you’ll have to consult your streamer of choice. Bobby Cole is already back with a new tape from Total Con after dropping an unbelievable hardcore 7” earlier this year. [*This Whole World Is Gonna Pay*](https://brainrotterrecords.bandcamp.com/album/this-whole-world-is-gonna-pay?ref=see-saw.fun) kicks untold ass. Damn. It’s out on Brainrotter, which also dropped this absolutely menacing drone hardcore from Cardiff’s [Shishu](https://brainrotterrecords.bandcamp.com/album/shishu?ref=see-saw.fun). Sickos who enjoy those two records should absolutely sink a half hour into the S.O.C. and Stunted Youth [split LP](https://unlawfulassembly.bandcamp.com/album/save-our-children-stunted-youth-split-lp?ref=see-saw.fun) on Unlawful Assembly. The grocery-themed D.C. hardcore band [Saafewaay](https://saafewaay.bandcamp.com/album/price-gun-to-my-head?ref=see-saw.fun) have a new six-track collection called *price gun to my head*, too, that rips. Why Bother?’s [*Case Studies*](https://whybotheriowa.bandcamp.com/album/case-studies?ref=see-saw.fun) is the latest from the mysterious Iowa band with a long track record of great records on Feel It. SOOKS’ [*Taste the Leather*](https://sooksband.bandcamp.com/album/taste-the-leather?ref=see-saw.fun) is some fantastically lead-footed and heavy-fisted hardcore via hard rock. The German band Cold Summer has a really sick power goth record called [*Den Umständen entsprechend*](https://itselevenrecords.bandcamp.com/album/den-umst-nden-entsprechend?utm%5Fsource=album%5Frelease&utm%5Fmedium=email&utm%5Fcontent=fanpub%5Ffnb&utm%5Fcampaign=itselevenrecords%2Balbum%2Bden-umst-nden-entsprechend). It’s cold, but it pounds and howls. For more stomping and dour shit, try the UK band Sweet Fantasy’s [new demo](https://sweetfantasy.bandcamp.com/album/demo-2025?ref=see-saw.fun). The French dark hardcore band NOHZ is very much on a similiar wavelength to Zorn and other such warlocks on their excellent new album [*Slumber Between Rotten Walls*](https://worldgonemadrecords.bandcamp.com/album/024-slumber-between-rotten-walls-lp?ref=see-saw.fun). The great Athens, Georgia label Hard Tack returns with a [Halloween tape](https://hardtackk.bandcamp.com/album/halloween-25?ref=see-saw.fun)—a split between Peter and the Skeeters and Gnats. The Appalachian band Butter Swamp also have an eggy spooky season record out called [*Nightmare on Butter Street!*](https://butterswamp69.bandcamp.com/album/nightmare-on-butter-street-halloween-record-25?ref=see-saw.fun). It’s not expressly a ghouls and goblins record, but Waylon Thornton’s new one [*Behold the Static Worm*](https://ghosthousecandymountain.bandcamp.com/album/behold-the-static-worm?ref=see-saw.fun) would sound great in a haunted house. So would Dru the Drifter’s [*The Creeper*](https://druthedrifter.bandcamp.com/album/the-creeeper?ref=see-saw.fun). Also check out the new ones from [ta2reeban](https://ta2reeban.bandcamp.com/album/--2?ref=see-saw.fun) (Beirut), [G.A.Z.E.](https://g-a-z-e.bandcamp.com/album/g-a-z-e?utm%5Fsource=album%5Frelease&utm%5Fmedium=email&utm%5Fcontent=fanpub%5Ffnb&utm%5Fcampaign=g-a-z-e%2Balbum%2Bg-a-z-e) (Helsinki), [High Heels](https://high-heels.bandcamp.com/album/fake-fangs?ref=see-saw.fun) (Lancaster), [Paveway II](https://pavewayii.bandcamp.com/album/new-wave-skinhead?ref=see-saw.fun) (Phoenix), [Big Modern](https://bigmodern.bandcamp.com/track/drink-from-me?utm%5Fsource=track%5Frelease&utm%5Fmedium=email&utm%5Fcontent=fanpub%5Ffnb%5Ftrk&utm%5Fcampaign=bigmodern%2Btrack%2Bdrink-from-me) (Sydney), [xray xeroxx](https://xrayxeroxx.bandcamp.com/album/social-media-made-me-hate-my-friends-e-p?utm%5Fsource=album%5Frelease&utm%5Fmedium=email&utm%5Fcontent=fanpub%5Ffnb&utm%5Fcampaign=xrayxeroxx%2Balbum%2Bsocial-media-made-me-hate-my-friends-e-p) (Los Angeles), [Lowballer](https://lowballer.bandcamp.com/album/volvo-240-wagon-3?ref=see-saw.fun) (New York City), [Choque](https://choquepunk.bandcamp.com/album/canciones-para-ap-ticos-demo?ref=see-saw.fun) (Santiago), [Cluttered Grotto](https://clutteredgrotto.bandcamp.com/album/it-came-from-the-grotto?ref=see-saw.fun) (California), [Cool Guy Club](https://coolguyclub.bandcamp.com/track/rocking-undercover?ref=see-saw.fun) (Perth), [Jane & the Jaguars](https://janejaguar.bandcamp.com/track/poking-holes?ref=see-saw.fun) (Leipzig), [Piss Rules](https://xtrorex.bandcamp.com/album/repissues?ref=see-saw.fun) (Brussels), and [Muscle](https://muscleisking.bandcamp.com/album/arrest-god?fbclid=PARlRTSANE3-JleHRuA2FlbQIxMAABp9n6D7zVM%5FWpSevPaot2Ws7vFxJr15XjcLeUpVs6Wpftzi7dVBdJNgM7AgzR%5Faem%5FoD3FYjxBEtEPXrM1vfoX5Q&ref=see-saw.fun) (Baltimore). I missed it a couple weeks back, but my Deerhoof-pilled heart is absolutely loving the album *grounders* by Vancouver’s [bananahaus](https://bananahaus.bandcamp.com/album/grounders?ref=see-saw.fun). ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/10/MixCollage-03-Oct-2025-10-15-AM-9985.jpg) ### punk this week podcast 52: added dimensions + silo kids URL: https://see-saw.fun/punk-this-week-podcast-52-added-dimensions-silo-kids/ Last updated: 2025-10-02T00:31:16.000Z [Punk This Week](https://see-saw.fun/tag/podcast/) *is see/saw’s free weekly podcast from co-hosts Evan Minsker and Nina Corcoran—a discussion of the latest and greatest in the world of punk rock. We talk about six new punk records we’re loving from the past week.* Evan went to Gonerfest and all he got was a sore throat (and, of course, pretty sick...and a bunch of records). Nina saw that huge Turnstile show. In the midst of exciting weekends at the gigs, they recorded this episode of *Punk This Week* and found themselves exploring a psychological breakdown of all things Kermit. This intro is long; we get to the records around 29-minute mark. Discussed this time are new records from Added Dimensions, Silo Kids, [Genre](https://genremusic.bandcamp.com/album/s-t-tape-2025?ref=see-saw.fun), [Nosepick](https://thrashtapes.bandcamp.com/album/nosepick-first-try-ep-thrash-20?ref=see-saw.fun), [Permanent Opposite,](https://permanentopposite.bandcamp.com/album/permanent-opposite-2?ref=see-saw.fun) and [Property](https://abandcalledproperty.bandcamp.com/album/12-reps-to-revelations?ref=see-saw.fun). --- Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.fun). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/see%5Fsaw.fun/?ref=see-saw.fun) and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). Have a question you’d like to hear addressed on the show? Want to talk about a new record we didn’t discuss? Want to send a HARD PIVOT or NO AMERICANS bumper? Join us on the see/saw [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun) or email us: [see-saw@see-saw.fun](mailto:see-saw@see-saw.fun). *Punk This Week* is made possible by see/saw subscribers; please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-51-nape-neck-the-prize/#/portal/) if you enjoy this podcast. You’ll learn about way more punk records than we can pack into the pod! ### punk this week: silo kids, added dimensions, genre + 13 more URL: https://see-saw.fun/punk-this-week-silo-kids-added-dimensions-genre-13-more/ Last updated: 2025-09-26T17:19:37.000Z Hey, it’s Punk This Week, see/saw’s weekly punk and rock’n’roll recommendations round-up column. It’s a weird day to be doing this, partly because I’m trying to beat the clock to get down to Gonerfest in time for more rock’n’roll fun but partly because the great [Trouble in Mind Records has been laid to rest](https://www.instagram.com/p/DPEZXp%5FDaI%5F/?img%5Findex=1&ref=see-saw.fun). In the first days of the label, I was a fellow Chicagoan scooping up all the large-hole 45s Bill and Lisa were putting out. In the past several years, they’ve been on a hot streak of releasing some of the best and most adventurous guitar music on the planet. The Tubs? FACS? Dummy? The Serfs? That’s just in the past 12 months alone. It’s a loss, for sure. Do as they say and support independent music. This week there’s so much great stuff, including new records by Silo Kids, Added Dimensions, Genre, Josie, Heather the Jerk, Lothario, Jacket Burner, Ameratat, and more. [Subscribe](https://see-saw.fun/punk-this-week-the-prize-nape-neck-billiam-16-more/#/portal/) to see/saw for $4/month or $40/year to read about all the records this week. (There’s a two-week free trial, too.) That gets you this weekly column delivered to your inbox, plus bonus podcast episodes and the see/saw radio archive. Have a nice punk rock holiday weekend. --- **Silo Kids:** [***II***](https://earthgirltapes.bandcamp.com/album/ii-2?ref=see-saw.fun) **\[Earth Girl Tapes\]** Hattiesburg’s mighty Earth Girl Tapes has returned with the second tape from Silo Kids this year, and it’s a complete fucking barn burner. From the moment we sonically saunter into a saloon and a cartoonish bullet ricochet sound effect launches us headlong into *II*, we’re in for a blistering hardcore record ostensibly set in the American frontier. The drumming deserves a particular shout-out, but honestly picking apart individual aspects of this tightly wound and deeply explosive music is like attempting to dismantle a bomb. There is not a bad song on this tape, which is somehow even better than their last one. God damn!!! [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/09/a0704559285_10.jpg)](https://earthgirltapes.bandcamp.com/album/ii-2?ref=see-saw.fun) --- _This post is for paying subscribers only._ ### haram will not succumb to despair URL: https://see-saw.fun/haram-are-prepared-to-give-it-all/ Last updated: 2025-10-09T17:26:01.000Z Tucked inside the bandshell bowl at Herbert Von King Park in Bed-Stuy, Brooklyn, I look up from my phone to find myself in a sea of black clothing, tattoos, and body odor. A smattering of families with toddlers hover just outside the pervasive clouds of smoke. It’s the early evening of September 11, 2025, and the band has just finished setting up. Signs declaring “FUCK ICE” and “FREEDOM PALESTINE” adorn the back wall of the stage. When Nader Habibi strolls onto the stage in a long black kilt, the guitars ring out and the mood shifts. The pit opens up, and a scowling punk with flowing curly hair ignites an Israeli flag. It’s time for [Haram](https://haramharam.bandcamp.com/?ref=see-saw.fun). The show is the record release party for the [*Why Does Paradise Begin in Hell?*](https://haramharam.bandcamp.com/album/why-does-paradise-begin-in-hell?ref=see-saw.fun), the new full-length by Haram, an Arabic hardcore punk band from Brooklyn, New York fronted by 34-year-old Lebanese-American Nader Habibi. The Arabic word “Haram” translates literally to “forbidden,” a representation of everything deemed impermissible by the laws of Islam. For the past decade they’ve been challenging audiences with raw, relentless hardcore sung completely in Arabic. What started as an outlet through which to channel Nader’s violent feelings of resentment from coming of age in a post-9/11 New York City has turned into the nexus of an anti-authoritarian movement that resists classification as much as it does oppression. The band’s 2019 EP [*Where Were You on 9/11?*](https://haramharam.bandcamp.com/album/where-were-you-on-9-11?ref=see-saw.fun) explored the collective trauma shared by the world on the day the World Trade Center was destroyed through his own experience as a Muslim in its aftermath. The new LP zooms in on his own personal struggle—the *jihad* he sings of on the 2019 EP—contextualizing it within the struggle of his people on a global scale, as well as the genocide in Palestine. “I may never understand the struggle of someone being actively murdered,” Nader tells me. “But in my own experience, I have the same mentality. When I go up on that stage and I play with other bands who are joking around, like this is whatever they do after work… I’m prepared to die up there. I’m willing to give my life for what I’m doing. And I’m serious about it. It’s a very dangerous band.” That danger is largely ideological, so far limited to their confrontational lyrics and performances; their sound is both propulsive and punishing. And you’re more likely to get picked up than beat up in the pit, which was populated with many flavors of outcast that afternoon in the park. This basic truth about the band didn’t stop the FBI from opening an investigation into Haram, Nader’s family, and his friends after the release of Haram’s demo tape in 2015\. Evidently, someone in charge was spooked by the black-and-white design and Arabic characters at the height of ISIS hysteria. Finding no evidence of any wrongdoing, they moved on and haven’t harassed him since. But it would take years to repair the rift it created with his family, who didn’t understand Haram or his own *jihad*. “At a certain point in my life, I could have easily been one of those people that caused harm,” he says. “We have a very bloody history, as a species and as a country. So there was definitely a time in my life where I thought that if I want to make a statement, if I want to be popular, if I want people to pay attention to me, I have to hurt people. I have to hurt the people that hurt me. But I turn that into a peaceful form of expression and art, and I think that’s really important.” A few days before his record release show, I met with Nader in that same park to discuss Haram, his youth in Catholic school, and his relationship with both punk and Islam. What follows is an edited transcript of our conversation. --- ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/09/2-to-1-header.jpg) Haram performing at Herbert Von King Park in Bed-Stuy, Brooklyn (September 11, 2025); photo by Matthew Ismael Ruiz **You and your siblings attended Catholic school as practicing Muslims. How did that experience shape you?** I was born and raised in South Yonkers. I grew up with nothing to do with punk. I was not exposed to it. I was born to Lebanese immigrants. They came from the Beirut area, and I grew up Muslim—Shia Muslim. Between Sunni and Shia, it’s the smaller one, and it’s an even smaller community in Lebanon. They sent me to a Catholic school called St. Matthew’s for the first half of my life. They heard that the public schools and Yonkers were no good, and they thought that would be better for me. And that’s where the story starts to go downhill. I always felt rebellious from a young age. I would go to mosque on Fridays, and every first Friday of the month, the whole school would go down to the church that was connected to the school. So there was always one Friday every month where I would go to church during the day and go to mosque right after. I was what, eight or nine? I remember feeling like this was where my memory turned on—where I was like, *Nah, there's something up with this. I don't trust the information that I'm getting.* I’m going to church. I’m going to mosque, and they’re telling me two different things. They’re both telling me the other is wrong. So there was this immediate distrust in what people told me was correct. That’s where my journey in punk started. I didn’t get put onto the music until I was 17 or 18—late, late, late in the game. I was wearing khaki shorts. I was not in it at all, but I felt different. So when I got exposed to punk, I immediately fell in love with it. I was like, *Oh my god, what is this?* I remember going to my first show in Brooklyn, in Bushwick, at 538 Johnson. I don’t remember what the show was. It wasn’t the bands that turned me. It was the fashion, it was the fucking camaraderie that came with the music. It was the drugs, it was everything. It was the freedom that came with it. **The things that were forbidden…** It was taboo. I was attracted to this forbidden fruit. Coming from such a strict childhood, where my parents very diligently sent me to school and set me up on guardrails. No alcohol in my house, barely caffeine. You know what I mean? It was very strict. So I was attracted to this lifestyle, for sure, I didn’t get too deep into it. I always held true. And I felt almost like a prisoner in these beliefs, to the core Islamic tenets. Because that was so ingrained in who I was and who I still am that I can never get too far away from that. Even in the midst of my involvement in punk, I’m never a big drinker, I never did serious drugs. I just kind of always held true. **That sounds familiar to me. “Cultural Catholicism” is big in Latine families, even when you’re not practicing there are symbols and rituals that can carry meaning.** Christianity—and Catholicism, specifically—that was a huge part of my life as well. I'm drawn to sitting at church. Sometimes I like that. It gives me comfort from when I was a child. I still identify as Muslim, and that's also a very controversial thing. That’s how I got into punk. I remember going to that show and being like, *Holy fuck, everyone is weird*. Every single person has their own set of oddities. And I felt comfort in that. I felt like I’m not just in the midst of all these normal people where I have to explain who I am. And that is really where Haram started. The mentality behind the band is that I always felt like I had to explain who I was and what I do and where I come from. It always had to come with an explanation for people. You have to provide a context, always. And I can never just be accepted for who I am. Haram started on that principle of “this is a question mark.” This band is not an answer. You know, it’s more. So you come, you watch this band, you have your own opinion, go ask someone that speaks Arabic about it. I don’t know. I’m not gonna tell you. **Like many Muslims in New York, 9/11 shaped your experience in a pretty frightening way. What did that look like for you specifically?** Before 9/11, my school wanted to be able to be like, “Look, we’re a Catholic school, but we have this tokenized Muslim kid, send your kids here, please, we need money. And then after, it was like, “we don't know them,” you know what I mean? “We don’t know how he got here.” No one stood up for us. And we were going through crazy times. I was in fifth grade. I was physically hurt, for different reasons, like being called a terrorist and bullied psychologically. It didn't really have a crazy effect on me, I want to say, but the anger was in there. It turned me into someone that was resentful. Resentment gets people to do very stupid things, and there’s no outlet for people like me with a fucking spurned identity in post-9/11 New York. An Arab Muslim kid? There was no outlet. And when I found punk, when I found this revolutionary music and counter culture in general, it gave me an outlet, but I still didn't feel like I fit in. In a counter culture. And that is crazy. After Haram, I had a place to put those feelings, violent feelings of resentment that I didn’t know what to do with. And I argue that’s where the *jihadi* mentality comes from. Young people, like the Pulse \[nightclub\] shooter…there are these young Arab men that grew up Muslim and turn into radical Muslims because they have no outlet. And Islam provides you an outlet in a way. If you take it in a certain direction, it could be violent, for sure. For me, Haram is an outlet for people to use as a way to express themselves, as a place to put all these negative, angry emotions. That’s just for the Arab people, for Muslim people, for any oppressed person. ![Why Does Paradise Begin in Hell? insert, photo courtesy Toxic State Records](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/09/0040969819_10.jpg) **Why Does Paradise Begin in Hell?* insert, photo courtesy Toxic State Records **You were working on this new record *Why Does Paradise Begin in Hell?* as the genocide in Gaza filled the streets with blood and rubble. How did their struggle influence the album?** The record speaks heavily about the genocide—that’s really when we started writing it. In the booklet in the insert, there’s pages dedicated to the journalists that have lost their lives. If you hear what these people say, these people that are fucking being ethnically cleansed, they’re saying, “We will die for this land, and we will go through this and this land will be paved with our corpses for the hope of that future.” No matter what, the plight of man is to suffer, and to achieve through that suffering. I truly, wholeheartedly believe in that. So the record is about that. On a personal level, I had a really rough time these last five years, through personal health, mental health, life stuff that we all can relate to through the pandemic, even. I learned some harsh lessons in life, and I think that with a lot of work, eventually we can get through it, no matter what. I really believe that. So it’s kind of a motivational album. It’s meant to be optimistic. The lyrics of that album contain a lot of personal experiences as well as political battles that my people are facing at the moment. **How do you manage to engage with that—genocide, ethnic cleansing, murdered journalists—and not succumb to despair? How can you still believe the struggle will heal you?** It’s about persistence. That’s what I’ve learned. You’re not always gonna get it. But in the same way people are giving up their lives in Gaza and Lebanon, in Yemen, in Syria, in all these places, this is the global cost. It comes with persistence. It comes with never giving up and putting everything on the line for the sake of what you believe in. And that’s the common thread between punk and the Middle East and the conflicts and whatever, you know? You don’t give up and you keep going, and you need to be prepared to give it all. **What you’re describing, that’s *jihad*, isn’t it? The struggle?** In a way. I believe in *jihad* in a sense. For me, *jihad* is a personal struggle, and that’s how it’s described in the Quran. Of course, *jihad* now is described as this radical fatwa to kill all Westerners or whatever. And you can interpret the Quran in that way, but I have always taken *jihad* as a personal battle against oneself—your own desires, your own sins. There’s a lot of things to juggle in terms of your own discipline. I think it’s a beautiful thing, and it’s very important. But I try not to use that word too much, because of how we are all ingrained with that other definition. But I do believe it’s persistence, not thinking about the prize, but thinking about how I need to get up and do this every day. I need to get up and try to survive. I need to get up and try to find food and water. I need to get up and go to the food aid distribution line. You don’t think about 10 days from now, because you can’t. You think about how you can get through today. **You were famously investigated by the FBI at the peak of ISIS hysteria due to the Islamic imagery on the cover of your demo. The investigation yielded nothing, but it must have had a lasting effect.** ISIS was the hot thing, the new boogeyman. In 2015 when we put that demo tape up, it was black and white, and you could maybe see how, like, a fucking moron could look at that and think ISIS because it's black and white and Arabic. The FBI went and they harassed my parents, and we didn’t talk for seven years. I had no connection with my family, really. That’s something I don’t really talk about too often, but me and my family, including my siblings and my extended family of tens and tens of people in Lebanon and Canada, we didn’t talk at all. They gave me a choice. They said, “Hey, we recognize that you want to do this punk stuff, it’s so different from what we came here to do. It’s not the path that we paved for you. We didn’t come here and suffer for you to do this, you know?” They said, “You’re gonna hurt yourself, and you’re gonna hurt us as a family.” I believed in it so much that I was like, *I have to go my own path*. I did the first half of Haram with no connections to my family. And that was another layer of feeling ostracized there too, constantly feeling like at any point, something could happen to me and they’re gonna go after them. I was born here. I’m naturalized. They were not. They could be deported in a second, if they really wanted to, so I did it with a lot of risk, and my bandmates supported me the whole way. In the underground, people were like, “Oh, this band is a threat, actually dangerous.” In a way, the FBI put us on the map, but they never bothered us again. I had a lawyer on it for a little bit, on some real shit. They told me that there is like a file about it, but that there isn’t an open case or anything. But I always feel like I’m being watched. I don’t know. I don’t care, you know, but I feel like, in a way, that never went away. **When Haram started, there didn’t seem to be many bands you could call contemporaries. Who could you look to for guidance or influence?** There’s not a blueprint for what I’ve done and who I am, and that’s good and bad. My goal as a human being in the punk scene, my hope was that if a kid had a similar struggle to me, if they were also Arab-American or Muslim—whatever connection we had—that they could listen to my art or look at me as a person and my life when I pass and be like “he paved the way.” Where I could at least live in a way where I feel understood. That’s it. I’m not looking for anything else in this life. At our shows, if 1% of the audience spoke Arabic, we’d be lucky. But recently there’s been a massive boom in Arabic punk. There’s a lot of Arabic punk bands, a lot of Arabic punks, even Arabic celebrities. I don’t want to be seen as a figurehead in this Arab-American community because what I do is still taboo. When we play in these Muslim majority countries like Indonesia, they’re freaked out. It’s still a counter culture to Arabic culture, you know? Not all Arabs are gonna get down with a punk band named Haram with a fucking crazy guy singing. I showed this to the deli guy and he was not happy. I was like, “Yo, it’s Arabic punk!” He was not about it. The guy is probably a devout Muslim dude that doesn’t want a progressive form of Islam or doesn’t care about a dude covered in tattoos saying he’s Muslim. We’re still a taboo band. Right now, there’s a huge boom in the Arabic punk scene. The big one that came after Haram was [Taqbir](https://taqbir.bandcamp.com/album/taqbir?ref=see-saw.fun). Taqbir was started by my friend Nao; she’s from Morocco and moved to Spain and started this band. She was like 14 when she first started listening to Haram, a super young *hijabi*, and reached out to me to talk about what it meant to be Muslim and all this stuff. Eventually she moved to Spain, she took off the *hijab*, had the same thing with her family: big split. And then she started a punk band. She said, “I want to make a band like Haram.” And that, to me, is everything. That’s all I wanted. [Ikhras](https://ikhrasactivity.bandcamp.com/?ref=see-saw.fun) are really good friends of ours. The singer’s Palestinian. They’re more like a capital H hardcore band, but they’re really good. [Zanjeer](https://zanjeer.bandcamp.com/album/parcham-buland-ast?ref=see-saw.fun) is another band, they’re not Arabic punk, but they still call themselves Harami punk, which is like a sub scene that’s starting now. Haram in Arabic means forbidden, Harami in Arabic means criminal—people that do forbidden things. Just badass. He sings in Urdu, his name is Hassan, and he’s of Muslim background too. So he can still relate to this movement in music. And we’re gonna play with him in Berlin in October, which is gonna be cool. **Do these other bands inspire any optimism in you?** This is now an interesting chapter that's coming up in Haram’s history, because I’m not 22 and confused anymore. I’m 34 and I have a very established form of what this band stands for, and the community that’s forming around it. A lot of people speak about this, and they’re like, “Oh, yeah, I fight for a better world,” or “I fight for things to get better.” I know things aren’t gonna get better. I’m not delusional about it, and I’ve said this my whole fucking career in music and my life. I don’t live on the principle that things will get better. I live on the principle that things are gonna get worse. And the way I look at it is: always be prepared for worse, and you’ll be all right. **What kind of effect do you think that has on someone to be so emotionally and spiritually hardened? You’re not just expecting to struggle—you’re expecting the struggle to become harder, to persist. Do you not feel that extra weight?** It’s a daily fight, man, I don’t know. It’s really hard. It’s hard to really bear the weight of it and find a way to exist. But I’ve romanticized the pain to where I see it as an entryway to better times, always. So if it hurts now, it might hurt more later, or it might get better. I don’t know. **Do you believe in God?** Not really. I believe in the concept of that, not literally. Spiritually, I find comfort in feeling that. I’m not delusional to the point where, like, my dad lives this life in order to prepare for the next. I used to be staunchly atheist coming out of high school, like, *fuck all gods and this is all man-made stories*. That's humanity, and the evil of man, you know, and the way that they’re able to control people. They invented this concept. And for me, spiritually, I intuitively default back to it. If I’m in a scary situation, I say a prayer. It calms me down. It’s Arabic and Muslim prayer, the ritual of it. I’ve defined my own version of Islam. People don’t like questions. They don’t like being challenged. They can’t accept, for example, that we don’t have an answer that science can explain. We’ve heard this big bang theory and whatever, like that’s the best we got. People don’t like that. They want an answer to everything. So what’s easier to digest? God! He’s benevolent, he looks just like you, and he’s just this guy, and he makes all the fucking decisions for you. Everything is just created for you. That’s an easier reality for people to live. ![Haram performing at Herbert Von King Park in Bed-Stuy, Brooklyn (September 11, 2025) while someone burns an Israeli flag at the front of the stage; photo by Matthew Ismael Ruiz ](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/09/wide-color-01-1.jpg) Haram performing at Herbert Von King Park in Bed-Stuy, Brooklyn (September 11, 2025) while someone burns an Israeli flag at the front of the stage; photo by Matthew Ismael Ruiz **You’re starting a tour right now, but Haram doesn’t really play very many shows. How much of that has to do with the live music scene here in New York?** Haram isn’t a band that you'll see once a month. We come out maybe twice a year. Now, when it's Haram time, we come out and we're playing in some fucking weird ass place. And we played in a fucking subway tunnel a couple months ago. Like 1,500 people showed up. It was awesome. Hank Wood and the Hammerheads and all these other bands played. But we like playing these guerilla shows, you know? We're not even about venues anymore. I'm done with this Ticketmaster, Live Nation shit. ​​The kids that are growing up in punk now, they don’t want that either. They don’t want to go to a venue and pay like $12,000 for a beer and then the show. They can’t afford it, and they don’t want to digest it in that way that we’re talking about. People are smart now. They see that and they’re like, “Oh, this is curated for me, this is a curated experience. We don’t want that.” And not one venue that I played in 2015 is open today. Not a single one. So we have been working with different collectives in New York City to play these guerrilla shows. We just go out, we find a fucking place, we pop the lock and we fucking bring in the PA and we play. That’s what we’ve been doing recently. In the last five years since the pandemic, the cops have fucked off and left us alone because they understand what happens when you fuck with the kids here. The fucking cop cars get blown up, you know what I mean? **You’ve toured Southeast Asia and predominantly Muslim countries like Indonesia. Do you have any plans to tour in the Arab world? North Africa?** We’re trying to get a show in Morocco for this tour, and we messaged this person on Instagram, like, “Hey, I heard that you're a Moroccan punk guy. Could you get us a show?” And he was like, “Sorry, yeah, we don't do shows no more, maybe check back in a couple months. But here’s a link to a list of other venues you could touch base with.” I clicked the link, and it takes me to this fucking Matrix style, secret messaging app where the messages self-destruct in like, 45 seconds. And there they said: “Hey, Haram, we would love to do a show for you. We can’t message you over the Meta apps because they’re heavily monitored, but here’s our Signal.” So we’ve been talking to this collective in Morocco through Signal in an encrypted chat. And they challenged us a little bit like, “Why do you want to play Morocco?” And I said, it would be nice to be an Arabic singing band and play in an Arabic country. We’ve never gotten the privilege to do that, and it’s pretty important for us to do that, because that’s where it’s gonna get uncomfortable for us as a band. We’re seeking that internal conflict. The band is supposed to be challenging. It’s supposed to challenge the audience. And I feel like here, it’s done. We’re done challenging. So this guy replies and says, “Just let you know, we don’t speak Arabic in this country. We speak Darija, and it’s not standard Arabic. We don’t fuck with Pan-Arabism in this country.” The North African Arabic countries are very much against being called Arabs, because the Arabs invaded their country and caused massive amounts of generational, colonial trauma, straight up. So they’re very defensive about that. Then they asked “Are you Muslim?” And I said identify as Muslim, this is why, *blah blah blah*. And they said, “We don’t like Islam either. Islam is very anti-queer, anti-women, and we don’t fuck with that.” And I was like, “OK, pause. We’re coming to Morocco as students. We don’t know what you’re about and you don’t know what I’m about. You know you don’t know my relationship to Islam or my relationship to my own culture and being Lebanese, especially Lebanese-American, so how about we have a show and we have dialogue and exchange experiences.” And they’re like, “Yeah, we’d like that.” And they said, “We can’t promote this show at all. There might be 15 people at this show. We can’t promise any money. We don’t know what’s gonna happen.” There’s a very dangerous situation there. They said, “We have to rent a house and say that we’re throwing a birthday party, nothing to do with a show. It’d be a secret.” And I was like, *now you’re talking my language*. --- *see/saw is an independent, reader-supported publication. If you enjoyed this feature,* [*please subscribe*](https://see-saw.fun/#/portal/) *and share this piece.* ### punk this week podcast 51: nape neck + the prize URL: https://see-saw.fun/punk-this-week-podcast-51-nape-neck-the-prize/ Last updated: 2025-09-23T15:36:23.000Z ![audio-thumbnail](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/media/2025/09/punk-this-week51_mixdown_thumb.png) punk this week 51: nape neck + the prize 0:00 /3770.347771 1× [Punk This Week](https://see-saw.fun/tag/podcast/) *is see/saw’s free weekly podcast from co-hosts Evan Minsker and Nina Corcoran—a discussion of the latest and greatest in the world of punk rock. We talk about six new punk records we’re loving from the past week.* Evan gets his ass kicked for his ranking of Kermit the Frog in the greater Muppets universe and then cocoons fully into his stereotype of only talking about Australian punk bands. It’s an episode about new records from [Nape Neck](https://napeneck.bandcamp.com/album/the-shallowest-end?ref=see-saw.fun), [the Prize](https://theprizemelbourne.bandcamp.com/album/in-the-red?ref=see-saw.fun), [Billiam](https://hiimbilliam.bandcamp.com/album/the-letter-w-the-numeral-b?ref=see-saw.fun), [Deaf Club](https://deafclub31g.bandcamp.com/album/we-demand-a-permanent-state-of-happiness?ref=see-saw.fun), [GOB](https://recklessrelease.bandcamp.com/album/rr008-do-you-belive-in-gob?ref=see-saw.fun), and the [*Quelques coups d'éclat*](https://petittonnerrebrest.bandcamp.com/album/quelques-coups-d-clat?ref=see-saw.fun) compilation. Also discussed: [the Goo Goo Dolls on *Sesame Street*](https://www.youtube.com/watch?v=uGohKgNOXnU&ref=see-saw.fun), [Slimey wearing a single cowboy boot in Nashville](https://www.instagram.com/p/DNgd9MctUXb/?img%5Findex=3&ref=see-saw.fun), the documentary [*Don’t Fall in Love With Yourself*](https://vinegarsyndrome.com/products/dont-fall-in-love-with-yourself?variant=40561232478250&ref=see-saw.fun), [Fléches](https://fleches.bandcamp.com/album/fl-ches?ref=see-saw.fun), and Robbie Thunder’s “[Houston, We Have Rock](https://robbiethunder.bandcamp.com/album/houston-we-have-rock?ref=see-saw.fun).” --- Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.fun). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/see%5Fsaw.fun/?ref=see-saw.fun) and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). Have a question you’d like to hear addressed on the show? Want to talk about a new record we didn’t discuss? Want to send a HARD PIVOT or NO AMERICANS bumper? Join us on the see/saw [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun) or email us: [see-saw@see-saw.fun](mailto:see-saw@see-saw.fun). *Punk This Week* is made possible by see/saw subscribers; please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-50-algernon-cadwallader-haram/#/portal/) if you enjoy this podcast. You’ll learn about way more punk records than we can pack into the pod! ### beer’s frontman fucked up his foot before the basement show URL: https://see-saw.fun/beers-frontman-fucked-up-his-foot-before-the-basement-show/ Last updated: 2025-10-19T21:00:12.000Z On a warm August night, a bunch of Minneapolis punk youths were blasting cigs and drinking tallboys in a backyard. The promised 7 p.m. start time slipped well past 8 p.m.; the touring band hadn’t made it yet, which was just fine by me because I was an hour late getting there. Locals [Visual Learner](https://visuallearner.bandcamp.com/album/greg-2?ref=see-saw.fun) played their first hometown show as a trio after an ill-fated West Coast tour saw one member depart the band. They sounded really good, though—“road taut,” as they put it, and I’d agree with that. The South Carolina egg punks [Beer](https://beer.bandcamp.com/album/beer-iii?ref=see-saw.fun) pulled up in a big ass van and gradually hauled their merch and gear into the house. Punk friends of mine from around the country had been raving about the Beer live show, and now here was the frontman steadying himself down the sidewalk with a shiny cheetah print cane. This was a pretty sharp contrast from the maniac I’d seen in recent live footage running around the crowd and climbing on stuff. They were late for the Minneapolis show because Dakota had spent the morning in a Milwaukee emergency room. “It was fuckin’ stupid,” he told me later, smoking and winded in the backyard after their set. “I jumped off a bar last night and part of it fuckin’ broke. It was at the High Dive in Milwaukee, and for the record, I am suing. … I’m kidding.” He caught the particle board edge of the bar, fell awkwardly, and bruised a bone pretty bad. His walk up and down the unlit basement steps visibly took some concentration. ![Dakota from Beer’s foot in a cooler of ice](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/09/beer-cooler.jpg) When you Google “Beer in cooler of ice,” this is the only result that shows up; photo courtesy the band For Beer, I’m sure a basement show hampered by injury and instrument issues was a frustrating one. They had to borrow both a guitar and a bass from [American Muscle](https://americanmuscle.bandcamp.com/album/crime-for-love-single?ref=see-saw.fun) (who, later, would absolutely fucking crush their own headlining set). Dakota’s attempts to venture out into the crowd were short-lived; the concrete floor was super wet, so he spent a decent chunk of the show in the corner by the P.A. in a largely unsuccessful attempt to get the vocals up. In this environment, folly is forever the only mode of operation, and Beer absolutely fucking crushed. Their guitarist Andrei’s wireless rig meant that he was spinning around constantly, ripping their signature solos from their stellar first three EPs. It was almost astonishing how well their recorded sound translated to a live setting—the tone, jumpiness, and precision all fell perfectly into place. Dakota was screaming while pounding his Walgreens cane into the joists. For a touring band’s basement show, it was also a testament to the overall health of Minneapolis’ punk scene. It was a well-attended show, yet the scene vets in Visual Learner didn’t recognize most of the kids in this particular crowd. People were enthusiastic, dancing, and complimenting the bands after the sets. It was a good night for party music played and performed at a high level. Beer even brought one of those spinning party light balls you can get at Spencer’s. It was basement show revelry; thank Christ nobody got dunked into the clogged utility sink nearly overflowing with brown water. “I wanna go watch the egg punk band,” I’d overheard someone say outside the house before the set. Their tone had this smack of morbid curiosity—an “I wonder what *this* is going to be like” edge. For a genre so rooted in a goofy and vibrant home-brewed aesthetic, egg skeptics are almost definitely ignoring the fact that some of the best live bands in the world are behind those records. (See also the Gobs or Billiam and the Split Bills.) Last summer, Beer shared *Live in the Dish Pit*, which was filmed in the back of a South Carolina pizza spot where Dakota still works. It’s this short film of the band absolutely destroying in tight quarters while Dakota’s brother literally washed dishes right next to them. This was a crucial document, proof that their stellar direct input and faceless cassette songwriting translated to a must-see charisma-explosion live show. It turns out, that was still the case even after dude fucked up his foot. --- *A previous version of this article said some shit about someone threatening to call cops, which was a rumor and didn’t actually happen. My apologies to everyone in the community for the misrepresentation. Y’all have my genuine respect; thanks for hosting sick shows.* ### punk this week: the prize, nape neck, billiam + 16 more URL: https://see-saw.fun/punk-this-week-the-prize-nape-neck-billiam-16-more/ Last updated: 2025-09-19T22:50:36.000Z Welcome back to [Punk This Week](https://see-saw.fun/tag/punk-this-week/), see/saw’s weekly punk and rock'n'roll recommendations column. As Gonerfest approaches, punk world seems to be exploding with activity. If you want to read about new records from the Prize, Nape Neck, the Dissidents and D.O.V.E., the Cowboys, Citric Dummies, Billiam, Be Your Own Pet, Grub Time, Twisted Teens, Norm Dogs, and Gob, it’s time to [subscribe](https://see-saw.fun/#/portal/) to see/saw for $4/month or $40/year. (There’s a two-week free trial, too.) That gets you this weekly column delivered to your inbox, plus bonus podcast episodes and the see/saw radio archive. Please [support](https://see-saw.fun/#/portal/) this independent publication and then support some sick bands. Happy reading. --- **The Prize:** [***In the Red***](https://theprizemelbourne.bandcamp.com/album/in-the-red?ref=see-saw.fun) **\[Goner/Anti Fade\]** The state of rock’n’roll is rich with power pop. This year we got new music from the Number Ones, Sharp Pins, LÚLÚ, Gripper, Laxisme, Radioactivity, Abi Ooze, Dauber, Loose Lips, Game Set Match, the Unknowns, Polyglots, Eye Ball, Xanny Stars…I could go on. It takes a very special record in this world to stand out, and that’s exactly what the Prize has delivered with *In the Red*. This is a record with undeniable hits and a layered attack that sews up every track as tightly as possible. The guitar solo on “Don’t Need ’Em” is fucking stunning, and then the all-muscle Thin Lizzy-ass chug of “From the Night” gallops forward. It’s the kind of record with such sharp and exceptional hook writing, it doesn’t feel like they could possibly keep up the consistency from the first half of the album across the entire album. Reader, they do. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/09/a2829641630_10.jpg)](https://theprizemelbourne.bandcamp.com/album/in-the-red?ref=see-saw.fun) --- _This post is for paying subscribers only._ ### punk this week podcast 50: algernon cadwallader + haram URL: https://see-saw.fun/punk-this-week-podcast-50-algernon-cadwallader-haram/ Last updated: 2025-09-16T21:11:59.000Z [Punk This Week](https://see-saw.fun/tag/podcast/) *is see/saw’s free weekly podcast from co-hosts Evan Minsker and Nina Corcoran—a discussion of the latest and greatest in the world of punk rock. We talk about six new punk records we’re loving from the past week.* It’s the 50th episode of the *Punk This Week* podcast, and this time we’re each bringing long-awaited records from bands we’ve loved for a long time in [Algernon Cadwallader](https://algernoncadwallader.bandcamp.com/album/trying-not-to-have-a-thought?ref=see-saw.fun) and [Haram](https://toxicstaterecords.bandcamp.com/album/haram-why-does-paradise-begin-in-hell?ref=see-saw.fun). We also discuss the latest from [Spite House](https://spitehousemtl.bandcamp.com/album/desertion?ref=see-saw.fun), [STATICØ](https://staticobghc.bandcamp.com/album/absurdity-of-this-world?ref=see-saw.fun), [Dancer](https://dancermusicgroup.bandcamp.com/album/more-or-less?ref=see-saw.fun), and [Rhizome & the Flavonoids](https://rhizomeandtheflavonoids.bandcamp.com/album/superimposer?ref=see-saw.fun). Be sure to read Nina’s Best New Music [review of the new Algernon album](https://pitchfork.com/reviews/albums/algernon-cadwallader-trying-not-to-have-a-thought/?ref=see-saw.fun) over at Pitchfork and revisit her see/saw [interview with Dancer](https://see-saw.fun/dancer-on-taking-swings-and-building-their-own-momentum/). --- Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.fun). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/see%5Fsaw.fun/?ref=see-saw.fun) and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). Have a question you’d like to hear addressed on the show? Want to talk about a new record we didn’t discuss? Want to send a HARD PIVOT or NO AMERICANS bumper? Join us on the see/saw [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun) or email us: [see-saw@see-saw.fun](mailto:see-saw@see-saw.fun). *Punk This Week* is made possible by see/saw subscribers; please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-49-tigers-and-flies-winston-hytwr/#/portal/) if you enjoy this podcast. You’ll learn about way more punk records than we can pack into the pod! ### caitlin angelica and the act of grieving by singing really loud URL: https://see-saw.fun/caitlin-angelica-and-the-act-of-grieving-by-singing-really-loud/ Last updated: 2025-09-15T14:29:08.000Z [Caitlin Angelica](https://www.instagram.com/caitangelica/?ref=see-saw.fun)’s room in South Minneapolis is a palpably safe space. The walls are mustard yellow, strewn with string lights, and covered in mementos. There are multiple comfortable spots to sit and an acoustic guitar in the corner. Her big and very sweet dog Oakley is snoring major over on the bed. “She’s such a sad baby,” Caitlin says with clear affection. “She’s like, ‘nobody loves me. I went on an hour-long walk earlier.’” It’s an easy place to be comfortable and sip a drink and talk about big and heavy shit. There are records and tapes, show flyers, portraits of Patti Smith, country music novelties, and of course, works of art created in tribute to her late partner August Golden. August was shot and killed at Nudieland—the Minneapolis punk house where he lived—on August 11, 2023\. It was a [Texture Freq](https://texturefreq.bandcamp.com/album/masochistic-episode?ref=see-saw.fun) tape release show; familiar faces from the city’s best punk bands were in attendance. Caitlin was standing right next to August when it happened. Of course she was there. She’d been going to punk shows in Minneapolis since she was a teenager. She’s lived in multiple punk houses over the years. And she was deeply in love with August. Of course she was there. In the days and months before this life-altering loss, Caitlin had been writing songs and performing them at the top of her lungs. Before an impossibly more brutal impasse, she was shout-singing about loss and sobriety and tumult. Hollering melodically, it turns out, is physically therapeutic. She was rooted on by August, her biggest fan—a cute boy in a [great band](https://scrounger.bandcamp.com/album/at-the-edge-of-our-abilities?ref=see-saw.fun). Following a solo demo, many of those songs made their way onto [*Living in a Glass House*](https://makinout.bandcamp.com/album/living-in-a-glass-house?ref=see-saw.fun), the phenomenal debut album from her country-tinged pop punk four-piece Makin’ Out. Caitlin screams in the hardcore band [Step Sister](https://stepsistermpls.bandcamp.com/album/facade?ref=see-saw.fun), but in Makin’ Out, her voice is a completely different instrument. It’s vulnerable and elastic. Cracks and quakes in her delivery aren’t about trepidation, but power—the inherent product of singing (her words) “horribly fucked up sad” lyrics as loud as fucking possible. “I’d do anything to have you near/hold your hand while you sip a beer/my knees are weak from that smile of yours/long dark hair, cut with no remorse,” she sings on “Fill the Wells.” ![August Golden with Caitlin Angelica, photo courtesy Caitlin Angelica](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/09/IMG_8609.jpeg) August Golden with Caitlin Angelica, photo courtesy Caitlin Angelica In early 2024, the band opened for the Marked Men at a sold out Minneapolis show. It was just months after Nudieland, and between songs, Caitlin talked about August. In the record’s liner notes, there are easter eggs in tribute to him—images culled from his possessions and his father’s old journalism job archives. Holding a copy, she points to an illustration pulled from an encyclopedia of stage magic: “I think she’s giving widow.” In Minneapolis punk world, Caitlin is a public figure. She’s in multiple good bands, works at the good spots, shows up to the good shows, and is instantly recognizable in a crowd. Two days before our chat, she was laying low at the TAKAAT warehouse show. Sometimes you don’t want to talk to an enthusiastic circle of homies but would very much enjoy having your senses inundated by a wildly powerful live show at the new warehouse spot (name still pending, I think). Just before her album’s release and a U.S. tour, this person who’s at all the shows had her picture published via national news outlets. She appeared in the courtroom and read a statement at the sentencing hearing for August’s killer Dominic Burris. During a press conference, which was attended by many familiar faces from the greater scene, she responded to a question wondering about the state of the Minneapolis punk community. “That community is standing in this room with you right now. It happened at a punk show. I’ve been going to punk shows since I was 14 with my mom, and as I said in my statement in the courtroom and as you can see here today with the presence of the people around you, it’s still there,” she said. “I went to a show the week after it happened. To the hour. There’s a big change, and we all have a lot of trauma—which we already all did. We don’t have August, and it would I guess be naive to say that there hasn’t been strife within the community, as any communities who are experiencing stress have. But we are doing exactly what we were doing before with maybe a slightly different perspective on the world.” When I asked where she’d be most comfortable to hang out for this interview, she suggested her house. About two hours after I drove away, I saw her on the sidewalk outside the Citric Dummies, Yambag, Surrogates, and Buio Omega show at 7th Street Entry. --- **First question: How are you doing these days?** I'm good. I’m doing pretty good today. I feel like life, the last couple months, has been incredibly chaotic and now I’m finally getting back into the swing of some sort of semblance of a routine. **Yeah, this period around the album’s release looked incredibly busy and hectic just on social media alone.** Yeah, so the album came out like a month ago, which is crazy. In the weeks leading up to the album coming out, there was a trial…well not a trial, but hearings for the murder of August. And so that was at the end of March. I did that. We all read our impact statements and had that day, which was really intense. I played two shows that week—a solo show and a show with Makin’ Out—and then a week and a half later, I went down to New Orleans to go to my friend’s memorial. I was there for four days and then I came home and had five days before tour. In those five days, it was a show with Step Sister and then a show with Makin’ Out as our tour kickoff. I knew what I wanted the insert of the record to be. I had it planned out, mapped out in my head, but I hadn't done it yet. So I had to make that and also have practices. Then I went on tour for nine days and came home. The morning that I came home, I had friends in town who had gotten here the night before that were visiting for May Day, which was four or five days after I got home. So I feel like people left town like a couple of weeks ago now, but I still just feel a little like, *wow*. It feels like a year and a half of pretty nonstop motion just because of trips and memorials and recording and tours with other bands and playing shows in other places. The hearing stuff was very sporadic. I would get calls, like there would be a hearing like three days from then when it was supposed to be a week. It was just so up in the air all the time. **Are you comfortable talking about the hearings? That’s got to take an enormous amount of your energy and emotional space. Like, how is the comedown from something like this for you? Are you by yourself? Are you with your friends?** I mean, you can definitely ask me any questions about them. I feel like I’m very open about them. I think grief has a tendency to create these anticipatory feelings. There wasn’t a trial, right? The defendants took plea deals, and so in November we did a sentencing hearing, and at the end of March, we did a sentencing hearing. I knew generally what both were gonna look like, but obviously I’d never been in a room with…well I had been in a room with them, but I’d never been in a room where I would read an impact statement to a judge in front of the person who killed August. It was a lot. It was the single most difficult thing that I’ve done intentionally with my time. I could have chosen to not read a statement or not be a part of it, and I’m not saying that I’m holier than thou because I chose that. I do think that it was important for me to have this feeling of some sort of control in it where I'm telling my narrative to the judge in front of the defendants, in front of the room filled with people from my community and friends and family and loved ones. And to be like, “I actually don't believe in the carceral system, I don't believe in punitive justice. I don't believe in people going to prison in general or anything about it because I don’t think it brings me closure, I don’t think it does anything to actually change the systemic violence that we experienced.” I could go on forever about it. It feels like because these things were so sandwiched in between me leaving town and shows and all these things that were good, I think it kept me going, it definitely is like just a month and some change later, I’m processing the fact that I did that. We chose to do a press conference so the press didn’t jump on us when we were leaving the courtroom. That was all over the news, all over Instagram. I still get random notifications from it. It just feels bizarre. It’s like an unreality where you’re like, “Why?” People always talk about it in this way where \[an event\] feels like re-traumatizing, and it’s more like quote-unquote “re-traumatizing.” I’m just traumatized. We’re all traumatized, and the wound is just kind of open generally. I can function with that there, and I’m OK, but I’m inundated with this stuff all the time. The hearings and stuff and the court side of it wasn’t so much re-traumatizing as much as it threw me out of my body completely, you know? I’m glad I did it because Auggie...August’s family isn’t here. I think ultimately I did it because I can’t see any part of this process being, for a lack of better words, rehabilitative for the kids that did it other than hearing from the people that were like the most impacted that do have a certain amount of empathy and grace for the system that actually put those kids there in the first place—that, in my mind, put guns in their hands. It’s not black and white. It’s very nuanced and complex. But yeah, to answer your question, the lead up and come down has been very bizarre. I just got a call from one of the people earlier. There’s another thing, and it’s tomorrow. **It’s *tomorrow*?** But I’m deciding...I shouldn’t talk about it very much. I’m deciding if I’m going to engage with it, because at this point...it’s not about moving on, but it’s really disruptive. I know I have a choice, but I don’t feel like I have a choice *physically* in my whole being. Not just with the thing tomorrow, but in general engaging with this. Yeah. I just want it to be done. \[*laughs*\] That’s really the long and short of it. **When you say you want it to be done, do you specifically mean the hearings and court appearances and bureaucratic stuff?** Definitely. I feel like for such a long time, like working in cafes in the city and being around for as long as I have, I wouldn’t say I’m a very public…well I mean, I think now I’m a very public-facing person, but I’ve lived here for 16 years, you know? So I *feel* like I know everyone, and I *feel* like everyone knows me. I’m proud of myself and my community for being able to use this thing that is really awful to change and maybe shift the perspective of what a victim can look like and can be—to maybe have a tiny bit of reclamation of our own powerlessness, you know? And it’s like *fucked up*. It hurts. It’s really awful, but also I’m glad that I did it. I just want that part to be done so I can…not move on, like I said, but just do my thing. \[*laughs*\] Just do the other things I like to do like make art and go to shows and play music and hang out with my friends. **How long had the Makin’ Out songs been around by the time you recorded them? Can you tell me a bit about where this specific side of your songwriting got started?** I started playing guitar in 2021\. I tried many times over my lifespan to play guitar. I took piano lessons for a while as a kid and guitar lessons as a kid. I took piano lessons and guitar lessons as an adult at different points. It just never stuck. I started playing guitar in August 2021, and I had just hit a year of no drinking. I think at this point in my life, I was 26, and I couldn't ever focus on anything before other than art that I would make. A year into sobriety, I was like, *Oh, I can create new neural pathways and work on things that were otherwise so irritating for me.* I’d gotten an ADHD diagnosis and medication and stuff like eight months before. I started playing and it was so irritating and hard. August, we had just started dating a few months before that. He’d always be like, “You’re not good at something right when you started? That’s *so crazy*.” It was definitely this thing, because we were dating long distance between New Orleans and Minneapolis, that I was like “He’s either here or I’m there, or we have these month or two spaces in between.” I just felt way more settled with myself and my being, so I could be at home and work on stuff. I don’t know what switched. I just got hyperfixated on it. My friend—who passed away a couple years ago—10 years ago he gave me this classical acoustic from the Seward Cafe free box and I had never really played it. So I just started strumming chords and trying to sing at the same time, and God bless my old roommates in my old house because it was so brutal. It’s crazy, too, because I’ve always sang in my life. I’ve been writing songs in Step Sister for almost seven years now. I’ve always written stupid little songs for myself, but I’ve never been able to sing in the way that I do now until a few years ago. I think it was a confidence thing. Really, it’s a muscle, practicing it, and having a lot of perspective shift in my life and honestly not giving a fuck what people think of me in a lot of ways. So I just really started working at it and started sending my little songs to August and showing friends. In spring 2022, I remember I had COVID after we all went and saw Jawbreaker at the Fillmore. It’s a really bad place to see a show. I got COVID and I remember playing guitar in my room and just kind of losing my mind because I had it for a week and it was before May Day. It was right before August moved here because he moved here like right before May Day 2022\. I sat down and wrote my first real song. It’s still a song I play solo today and it’s not on the record, but I remember August being like, “Wait a minute, why don’t you sing like that all the time?” And I was like, “I do, but just not in front of people.” I was like, “I’m impressing this cute boy that I’m in love with from far away.” It just felt really good. It’s like every time I write a song, I’m like, “I can take over the world!” \[*laughs*\] ![Caitlin Angelica with Oakley in her 2022 bedroom, courtesy the artist](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/09/IMG_9590--1-.jpeg) Caitlin Angelica with Oakley in her 2022 bedroom, courtesy the artist **The first time I saw Makin’ Out live, you were opening up about August and the shooting between songs. Doing that in Minneapolis is probably a pretty specific feeling because you knew so many people in the room, but do you feel like you can do that when you’re on the road regardless of who’s in the room?** I thought about this a lot actually leading up to tour, like, hmm, how am gonna navigate this? Because I have played on both coasts and in New Orleans multiple times, solo at least, since August was killed. So many of my songs before he was killed were about grief and specific heartache stuff, but then also big enough that I could just roll with it and not have to go dive into it. But obviously, all of the songs that I’ve written since he died are about grief, about him, but also there’s specific things in them that are about very specific moments or breakthroughs or what’s physically going on around me. So I think very early on after he was killed, I would give every piece of context. I just generally talk a lot—sometimes it’s to a fault how vulnerable I am. Because sometimes I’m like, “I don’t need to be giving people all of my energy about this.” Sometimes it’s not received well, you know? I don’t feel ashamed or embarrassed when that happens. Sometimes people are not ready to receive something, but in a room when I’m on stage, I have the microphone, I’m doing it, and I am going to give context for songs. I think I do it in a less detail-oriented way than I did when he first was killed, because every time I stepped on stage, it felt like I was memorializing him. Still, to a certain extent, every time I step on stage, I’m memorializing him or I’m memorializing anyone that’s my friends. It’s the way that I am able to get through life is by playing music and making art. *This* part of it happens to be very public. And I think it’s important. I love hearing about the context of people’s songs. I really love hardcore and punk as much as the next guy, like *so much*, and I love not being able to hear what the fuck people are saying, but I do love to know what people are singing about and I love lyricism. Being here, it’s very different. This isn’t even about one specific person, but I can see that people get squeamish or have a hard time because we are in Minneapolis where it happened. Sometimes I’m in a room and like half of the room will be people that were there at Nudieland. And sometimes I draw it back if it feels a certain way, and I don’t need to even have it be so detailed, because they know, you know? And then when I go to other places on tour, we have two setlists, and we were going to do one but I kept messing up one of our songs. So we decided to not play it, but this other song is “Uncertainty,” which is the punk song I wrote for the Marked Men show. So we had this specific setlist: “Bear the Weight” and then “Suspend Me in Time” and then “Glass House,” which is the title track of the album. I had a script essentially where I’d be like, “So this is the title track of our record, yada yada. It’s in the back. Buy it if you want, whatever.” Play the song. And it’s like, “That song is about alcoholism. I started writing it before August was killed. I was actually supposed to play it the night before he was killed because he was like, ‘You should play it at the solo show.’ That was my second solo set ever. Then I didn’t play it because I didn’t write it on my fucking setlist. And so it felt really sad because I didn't play it. But he was like, ‘It’s not done. Just play it.’ Forgot.” We had “Fill the Wells” be the fourth song, which is obviously a very intense song that’s very directly about gun violence and partner loss and how if you experienced neither/nor, you will never understand. I don’t know what the purpose of that...I don’t know why I even need to say that when I’m on stage: “You will never know what it feels like.” When people offer me empathy or sympathy, that’s great. Sometimes it feels better coming from other people because they do have this level of understanding what partner loss is or understanding what gun violence is or whatever. It doesn’t mean that one is more valid than the next, but it is helpful. This song, when I would talk about it on stage on tour, that song is so intense because it’s like \[*sings*\] “shotgun shells fill the wells.” It’s another cry for help. That’s so specifically about something. I could just feel the whole room shift every time, and it wasn’t bad, it’s just interesting to watch. **You’re inviting people into the truth of where you were when you wrote the song or are when you’re performing the song. Do you feel like you invite people into that space with you because if you didn’t it would feel disingenuous?** Yeah, I think about this a lot because I’m like, “I know who I am! I know what I’m doing! I don’t need to explain myself!” I’m just a very contextual person, but I do think that I’m constantly zooming out. When I’m offering someone to understand where this song or whatever came from—cause you could like it without knowing the context of it or whatever—it’s understanding that I am a person who is not just trying to exist in this world passively. As corny as it is, my art means something to me. My writing means something to me. It’s very thought-out. Sometimes it comes out faster than other times, where I just write a song and I didn’t even feel like I put effort into it. Sometimes it’s like months of working on it and having someone understand where it comes from makes it feel \[like they\] understand the full scope of what it is. But yeah with the zooming out thing, I’m someone who’s very vulnerable, generally. It took me years of therapy and understanding who I am as a person and quitting drinking and all of these things to get to this point. And I’m looking at all of my friends and family and the people everywhere who just repress everything. I’m guilty of it too, but I’m terrified of watching my loved ones get sick from it. But me, splaying it all out—like on tour, honestly, every time I did it, it just felt like I was taking a dagger to my guts. Not in a way that’s bad, even though that sounds terrible. It's just like, I’ve really got nothing to lose. This is what I got. If you want to see it, if you don’t, I don’t care. Me offering you my story of where I am in the world, this is also an invitation for you to be open about *your* loss or grief or whatever you’re going through. There’s this narrative, especially in the world that we exist in and the extended bubble, like DIY and whatever, this thing where we all have to be so *in therapy* and *not “trauma dump” on our friends* and we have to keep our shit together so that we can show up for this greater movement that is supposed to happen when we like. It just feels like this shame thing, like if we are not open with what is going on with us and we’re not reciprocating it, it’s like we’re not good enough. And that’s not, to me, how life works. Sometimes the pendulum is going to swing or whatever further to one side because your friend’s not doing good and they need someone. We just need to be more open with each other. I’m like such a communication guy. I’m like, why is my songwriting even connected to that? But it’s just so connected to me. **On Instagram, one day you were talking about joy and grief existing in the same breath. Not to tell you what you’re doing…** Tell me, tell me! I have no idea what I’m doing. \[*laughs*\] **But I hear so much joy in the delivery of these Makin’ Out songs that are so informed by loss. Do you feel that when you’re making a record with this band or performing with this band?** Definitely. Well one, I love melody and I love crust pop/pop punk melody. And I also love country music—all kinds, like really old and like ’80s and ’90s pop country, you know? And honestly, if you listen very closely to some of those melodies, you can hear it, which is really funny. But the joy in me, I’m very much a firm believer of multiple truths and I preach about it all the time and I think that writing songs that are horribly fucked up sad with these melodies that are like poppy sounding or whatever is a way for me, literally, to feel joy while I’m singing them. Playing music, playing guitar, and singing very loudly—having the vocal flipping and runs that I'm doing in the songs or whatever—just makes me feel physically good. That comes from that. My dog is snoring so intensely in the background. \[*laughs*\] It is very much like the songs are me experiencing joy in the actual physical act of playing them, the expression of it, and also writing and putting those songs into words that still can relate to people on a general basis—universally. Walker, the drummer in Makin’ Out, you know Walker. He was talking to me the other night after practice because we just finished writing a new song that I’m really excited about. He was like, “You have a very cool way of writing these hyper-specific songs that are also just so universally felt.” I was like: “Wow. Yeah. Thanks!” **We’re at this moment for Minneapolis punk where so many DIY venues are getting shut down. Disgraceland, an active punk house for two decades, was recently sold by the property owner. \[Ed. note: This conversation happened in May 2025\. Disgraceland is a punk house once again.\] You lived there, right?** I lived there for two and a half years I think, but I’ve been going there since I was like…17? Generally I’ve had a lot of friends who’ve lived there. Particularly with Disgraceland, it feels very sad. I used to go to Medusa, Secret Service, Coming Soon, all of these DIY spaces that have existed in the last like 14 years that I’ve been going to punk shows here. And I understand that things come to an end...very much so \[*laughs*\]. But it does feel particularly brutal. And I think for me, specifically, it’s because of watching the landscape change within the context of grief already. My brain is just so oriented to this 2023 summer with losing a slew of friends and then also August. Being like oh...things have changed *so* much. Since then, I have changed so much. And then watching Disgraceland go where it's like, Step Sister—my first punk band and the band I’m still in—started in that basement. I felt like I lived there even when I didn’t live there because all of my good friends lived there and everyone practiced there and we partied there and shows were there. It feels fucked. Seven people don’t live there anymore and now it’s going to sit empty for God knows how long. It touches on watching the Minneapolis landscape change in general with the thousands of condos that have gone up in the 16 years that I’ve lived here. I don’t own a house. My family doesn’t own a house. Housing is going up just like everywhere else, and then like seeing these DIY spaces go—and the Artery’s gone and Nudieland is gone—it just is brutal. There are other things that will crop up and have cropped up already that I believe in and I’m stoked on. Any place that is willing to host punk shows on a regular basis? This is my hot take: You cannot complain about it. If someone is willing to host people, yeah, there could be problems. Don't get me wrong. It could be expensive. They could not do NOTAFLOF. They could not have good accessibility stuff, whatever. They could just be jerks. But it’s so far and few between, so we gotta believe in the spaces that are trying. **Basements and DIY spots in Minneapolis are wildly important. Houses were my introduction to punk shows around here. There was this show at House of Lard, I think Mystic Inane played...** Yeah, Mystic Inane did play, it was August 2019\. I wasn’t there and I remember because I was really jealous. \[*laughs*\] **And then the last show I saw before COVID was Warm Bodies, Parsnip, and Citric Dummies but I can’t remember where.** It was at Riverboat. It was my birthday. October 3, 2019\. It was my 25th birthday! \[*laughs*\] I’m not *that* crazy but I’m a little crazy. **OK so we’re establishing well, here—you were very much around. You were in the basements, going to the shows, but you weren’t actively in bands that entire time you’ve been going to shows. At what point were you like, “I want to be in a band”? When did that switch flip?** I think I was like literally a child. I’ve been wanting to be in bands my whole life, Evan, but I was so *afraid*. I give so much credit to Jon Adams \[from Step Sister\] for getting me to do it. And karaoke. I give karaoke and my drinking habit for a long time and Jon the biggest credits of pushing me into it. I had such stage fright and was so anxious and not confident in myself whatsoever about anything for a very long time. When I was 23, Jon was like, *I want to start another band.* And I was like, *Great*. And he was like, *I think you should sing in it*. And I was like, *I don’t think I should do that*. And then he was like, *But you know how to scream*. And when I was drinking still, I was very loud. I still am loud, but I was much louder. \[*laughs*\] He was like, *I think you can do it*. And yeah, I did do it. ![Caitlin Angelica with Step Sister, photo courtesy the artist](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/09/IMG_6580--1--1.jpeg) Caitlin Angelica with Step Sister, photo courtesy the artist It took a long time to feel completely where I am at with it now, but I think specifically with Makin’ Out and playing guitar, I've always wanted to do that and I never thought I could. A lot of people \[false murmur\] *specifically men* are given guitars when they’re like 12 and \[somebody’s\] like *you can do this* and they’re like *why yes I can!* I also was given a guitar, a pink First Act, when I was in the sixth grade, and I just didn’t think I could do it. And I lived in a very small town of 600 people and tried to take guitar lessons and it just didn’t stick. **Where did you grow up?** I moved around a lot. Before I lived here, I lived in Gretna, Manitoba, Canada for five years—a town of 600 people. Before that I lived in Wyoming, before that I lived in Idaho, before that I lived in Minneapolis when I was two. But I was born in San Francisco. **What brought you back here?** We lived in Canada. My mom and her partner were splitting, and so we came here, cause it was the closest. I was 14 when we moved here, and my parents are punks. So my mom had friends here still and had lived, at different points of her life, has lived here. She’s always been like, “I’ve always come back to Minneapolis.” With the guitar, being young, I tried in 2019, I couldn’t do it, and finally it happened. OK the tale of Makin’ Out, but bringing it back to that tour I was talking about, the tale of Makin’ Out goes back to a 2019 tour with Avery \[Taylor\] and Matt Jones and all my homies and they before they moved to Texas. I went on tour with them. I was going through a breakup and was like, “OK, I'll go on tour with six men for three weeks, that sounds good.” I ended up leaving the tour *early*. In the van and I was talking about how I wanted to start a crusty This is My Fist kind of vibe; a region rock-inspired and East Bay pop punk kind of vibe. In the van, I was probably drunk, and I was like, “Makin’ Out is such a good pop punk band name.” And all the boys were like, “Yeah, that’s a really good pop punk band name.” I was like, yeah. And so this was in 2019\. So six years ago, right? Makin’ Out has been a band now for two years. I tried to start it in 2019 with some people. I was just going to sing. They were playing guitar, but it didn’t stick. And I tried to start it again and again. And then finally it was like, “I just have to learn to play guitar myself. I don’t know how I’m going to do it. I don’t know how I’m going to make the songs sound like I want them to sound, but I’m going to figure it out.” **Can you tell me how you met the other members of Makin’ Out?** I met Walker 10 years ago now, pretty much. I knew him from being around, and then we worked together at Modern Times for multiple years. And then two years and some change ago, I was like, *What if we started a band and you drummed in it?* He was like, *Yeah*. I forgot honestly that he was a stand-up drummer. I don’t think I’ve actually told him that ever and now I just said that out loud. I *knew.* I’ve told this to Walker where [Solid Attitude](https://solidattitude.bandcamp.com/music?ref=see-saw.fun) was one of my favorite punk bands when I was a teenager and they’re from Iowa City. I saw them play at House of Lard when I was like 17\. If you would have told my teenage self “you're gonna play with a dude from Solid Attitude in a band,” I would have been like, “No, what are you talking about? I'm just a nerdy little teenager.” Then Mike, aka Hot Dog. I met Mike in 2013 when he first moved here. Actually, I met him at a Halloween party at my house, which was a half block away from where we are currently. I’ve lived on this two-block radius like four times. He was dressed up like a hot dog at the Halloween party, so that’s why everyone’s been calling him Hot Dog forever. Our friend Leah Monson played bass for the first year and change, and then Hot Dog jumped on. We love Leah. We also love Hot Dog. And then Naveen, I met in 2023\. He was just around and I think there was a Step Sister show that happened at the Island, and afterwards, I was talking about how bad I want to be in a pop punk band. I love screaming in a hardcore band. I *love* it. I love thrashing around and being in it. But I call this band punky twangy pop. It’s really apt for what it is. If I say pop punk, someone’s always got a judgment on it. ![Makin’ Out’s Caitlin, Walker, and Naveen performing at Disgraceland, photo courtesy the artist](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/09/A86BF3FD-F248-47FE-98E5-02CE0623691C.jpeg) Makin’ Out’s Caitlin, Walker, and Naveen performing at Disgraceland, photo courtesy the artist **Somebody’s got an idea of what that sound is.** They’re *projecting*. It’s the same thing when you think of hardcore with a capital H capital C hardcore. I’m not anti-genre, it’s just boring to me. But OK, so Naveen is an incredible shredder. Loves Bay Area pop punk and region rock stuff. He was like, *I’m down*. I knew Naveen was a shredder, but I didn’t know the *caliber* of *shredding* he was capable of. I was like, “Wait…I actually did it. I asked the right people.” Still to this day, I can bring a song and we have it pretty much worked out by the end of practice. I’ll bring like a full or partial song and then we’ll flesh it out together pretty immediately. But the first five practices, we would leave like glowing, and that was before we even had a bassist. We just fell in line with each other. And they’re so open to my bullshit. Especially in the beginning, we started practicing like pretty soon after August was killed and I would like start crying in the middle of practice because it’s fucking hard. **But that’s not *bullshit*.** No but then also there’s also a lot of bullshit because I’m a little neurotic, I would say, and also I'm in two bands with all dudes and I live with all men and I love them, dearly. Love them but sometimes I’m just like: *Oh my god you guys!! What is going on?!* **Just surrounded by specific dude energy all the time?** Yeah, and it’s not even a slight. They’re all so wonderful, but sometimes it’s like: *I can see you’re not listening to what I’m saying right now.* And that’s not just dudes, it’s just people. Sometimes it’s hard. Also, it’s a lot. One of the members of Makin’ Out was at the shooting. Multiple of Step Sister members were at the shooting. I’m not trying to say that this is necessarily what people have told me time and time again, but I know that I am a walking reminder of it in this way that can be hard. People, for two years, were very used to August standing next to me. I have his art on my body. I sing songs about him. I’m not trying to live in this way that is dwelling-upon. I’m trying to live life in a generative grief-centered way; generative grief in a way that’s like I’m propelling off of it, I’m moving alongside it, I’m using it as a tool to further understand the living that is around me. Being in a band with people within that, I can understand where that can be hard because I’m a little intense. It’s chill. I just have a lot of gratitude for them, you know? **I get that when you write songs and play them out, the next natural step is to record them. With songs like these, though, can you talk me through why it was important for you to make an album?** I didn't know that for the last couple years I was writing a record. And I think that would have been the ultimate goal because it just feels really cool, especially with the timing with Outta Wax opening and also Dead Broke had pursued me about releasing something and I was like, “Well, I want to put out a record. If you’re willing to help with that, that would mean the world.” And also, I’m just kind of a go big or don’t go at all kind of person. I don't go home, but I’m just like, *nah*. My therapist is always like, “You’re kind of all in or not in at all.” This record wouldn’t exist without August in general, but also wouldn’t exist in this way if he hadn’t died, which is a really crazy reckoning. But because Nudieland reverberated so hard and him being my partner and being there and watching it happen. I didn’t get shot or even see him get shot or watch anyone get shot because I turned around in that moment—I still got like more money than I’ve ever seen in my entire life and I probably will ever see in my entire life at one time, which is like a very complicated thing. **Through donations?** Through donations. A good friend set up a Gofundme the day after, and I guess you could say it went viral or whatever. People really showed up and I was like, “OK, well I’m going to travel to see people that I love and grieve and be far away from this place, which was really hard to be in for a long time. And also...release my music. I know that August would be stoked because he was my biggest fan. Like he was just so nerdy about it. **He *was* stoked!** Yeah, he was! He knew the lyrics to songs and didn’t teach me how to play guitar but I wouldn’t have done it without him. He’s an amazing guitarist and our bands are cut from the same cloth in a lot of ways, I think just based on both of our tastes in music and stuff. So it was just me wanting to be like, *Cool I fucking did it. Look at me! I’ve had a horrible time in the last year and a half and I’ve also had a wonderful time. I’ve done more in the last year and a half with my life than I ever have ever.* This year will be five years that I quit drinking and it’ll be two years since August was killed, which is the same day, which is psychotic. My sobriety day is the same day he was killed, but a few years apart. ![Caitlin Angelica playing acoustic guitar wearing black in front of a banner that reads “AUG DOG 4EVR,” photo courtesy the artist](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/09/IMG_0324.jpeg) Caitlin Angelica, photo courtesy the artist I feel like with sobriety specifically—abstaining alcohol or whatever—it’s this thing where you’re constantly overcoming milestones and chapters opening and closing. And this is a chapter. This is another big milestone, and it’s in line with the hearings and it’s in line with his birthday, which was just the other day. It’s in line with all these things. I’m obviously very date-oriented. \[*laughs*\] I remember dates easily for some reason. I can’t remember a bunch of my friend’s birthdays now, but I can remember the day of a show in 2019. It's just my way of being like: Fuck all of you. \[*laughs*\] This is what I did and this is what I have. I’m not letting it take away my life. It happened at a punk show and it happened in his backyard—in every intersection of my life and livelihood. I don’t want that to be what defines me forever, you know? **What do you think your future chapters look like? Do you believe in manifesting or forecasting or do you just move?** I think that I move with intention in this way that I’m paying attention to what’s going on around me—as much as it doesn’t seem like that sometimes. I talk a lot about synchronicities and the psychotic synchronicities that are happening around me all the time. I have lots of friends who’ve experienced partner loss and grief in really fucked up ways. Or have experienced grief because of really bad tragedy. I think synchronicity stuff is so weird and real. It’s not manifesting, it’s just paying attention. I don’t know if I believe in manifestation, but I do believe in the times I’m like “this is probably happening, this is this other thing is probably gonna happen,” and then I’m right. Then it’s like *I’m losing my mind clearly because this is so weird*. But I do know that with this the record being the biggest thing so far, it’s just the beginning. I have a record’s worth of other songs between my solo stuff and and Makin’ Out. I have seen my songwriting shift even just from a lot of these songs being written from the beginning and from me starting to play three years ago and I think that I just want to keep doing it. There’s nothing else that feels as grounding and reassuring. It feels like I’m connected to myself and other parts of my life that I’ve experienced because of these songs. And I actively think about what was happening around me, while I’m playing them live, when I was writing it. That means it brings me back to places with August or other friends who have passed. I’ve written a bunch of these songs post-August dying, and I’m going to keep doing that. It just helps me remember my life and keeps me going. I’m gonna keep going. I’m going to keep doing it. I just wanna keep doing it. \[*laughs*\] --- *see/saw is a reader-supported publication, so if you enjoyed this feature, please consider* [*subscribing*](https://see-saw.fun/#/portal/)*.* ### punk this week: haram, dancer, radioactivity, home front + 15 more URL: https://see-saw.fun/punk-this-week-haram-dancer-radioactivity-home-front-15-more/ Last updated: 2025-09-12T20:15:27.000Z Welcome to [Punk This Week](https://see-saw.fun/tag/punk-this-week/), see/saw’s weekly punk records recommendations column. This week marks the long-awaited return of the New York City hardcore greats Haram. There’s also a new album from Dancer, some stellar lead singles from Radioactivity and Home Front, plus records from all over the world (France, Hungary, Indonesia, Ireland, Poland, Serbia, Switzerland, and Sweden). From Memphis to Stockholm to Dublin, there are bands making incredible music all over the world. To get this column in your inbox this week and every week, subscribe to see/saw for $4/month, $40/year, or barter. There’s a two-week free trial if you want to try it. Paid subscribers also get the weekly column, bonus podcasts, and the radio archive. Thanks for reading, now go t some punks. --- **Haram:** [***Why Does Paradise Begin in Hell?***](https://toxicstaterecords.bandcamp.com/album/haram-why-does-paradise-begin-in-hell?ref=see-saw.fun) **\[Toxic State\]** It’s been six horrific years since Haram’s *Where Were You On 9​/​11​?​.* On September 11, 2025, they returned with a full-length that feels like it’s been festering inside them over the past few years. Let’s say you don’t have the lyric sheet with translations, which means you have plenty of context clues for what this grim album is communicating. What’s clear up front is a perfect mix for heavy music, with crystal clear percussion but also a heap of grit over Nader’s vocals and scuzzy guitars. In many ways it meets hardcore’s top shelf studio production moment—shout out Scott Tamucci and Arthur Rizk on the mix. Get a copy of this album from Toxic State. Unfold the big ass newsprint insert. Go through the liner notes and Google the name Hind Rami Iyad Rajab, who this album was dedicated to. Listen to “Oh My Mother” and feel the full weight that genocide places on the children who manage to survive the bombs. There’s no doubt that this album is politically crucial. It’s also a masterwork of hardcore songcraft—fiery and heavy, but Nader’s voice sounds almost matter-of-fact all the way through. It’s an album with fight, but one that’s mired in sorrow and loss. Paradise begins in hell. Free Palestine. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/09/a2951696755_10-1.jpg)](https://toxicstaterecords.bandcamp.com/album/haram-why-does-paradise-begin-in-hell?ref=see-saw.fun) --- _This post is for paying subscribers only._ ### punk this week podcast 49: tigers and flies + winston hytwr URL: https://see-saw.fun/punk-this-week-podcast-49-tigers-and-flies-winston-hytwr/ Last updated: 2025-09-09T18:43:27.000Z ![audio-thumbnail](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/media/2025/09/punk-this-week49_mixdown_thumb.png) punk this week 49: tigers and flies + winston hytwr 0:00 /3827.161521 1× [Punk This Week](https://see-saw.fun/tag/podcast/) *is see/saw’s free weekly podcast from co-hosts Evan Minsker and Nina Corcoran—a discussion of the latest and greatest in the world of punk rock. We talk about six new punk records we’re loving from the past week.* Did we set out to establish Donkey Kong as the latest nemesis of the *Punk This Week* podcast before we recorded this episode? We’ll never tell, but we will tell you all about some great new records by [Tigers and Flies](https://tigersandflies.bandcamp.com/album/smashing-scene?ref=see-saw.fun), [Winston Hytwr’s Perfect Harmony](https://cleandemonrecords.bandcamp.com/album/perfect-harmony?ref=see-saw.fun), [Narco](https://narcoband.bandcamp.com/album/be-particular?ref=see-saw.fun), [Loose Lips](https://staylooselips2.bandcamp.com/album/last-laugh?ref=see-saw.fun), [TOUCH](https://touchyoursoul.bandcamp.com/album/seasons?ref=see-saw.fun), and [computer fight](https://computerfight.bandcamp.com/album/ccoommppuutteerr-ffiigghhtt?ref=see-saw.fun). Please do check out the massive and excellent new [Heavenly Pop Hits benefit compilation](https://heavenlypophits.bandcamp.com/album/one-day-everyone-will-have-always-been-against-this-a-benefit-for-the-palestine-childrens-relief-fund?ref=see-saw.fun) for the PCRF as well as new records by [No Peeling](https://nopeeling.bandcamp.com/album/no-peeling?ref=see-saw.fun), [Street Eaters](https://dirtcultrecords.bandcamp.com/album/opaque?ref=see-saw.fun), and [PERRA](https://perra.bandcamp.com/album/la-la-la-kathy-acker?ref=see-saw.fun). Go see Ekko Astral [on tour](https://www.puptheband.com/?ref=see-saw.fun#tour) with PUP and Jeff Rosenstock if you get the chance. --- Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.fun). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/see%5Fsaw.fun/?ref=see-saw.fun) and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). Have a question you’d like to hear addressed on the show? Want to talk about a new record we didn’t discuss? Want to send a HARD PIVOT or NO AMERICANS bumper? Join us on the see/saw [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun) or email us: [see-saw@see-saw.fun](mailto:see-saw@see-saw.fun). *Punk This Week* is made possible by see/saw subscribers; please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-48-vaguess-disciplinary-action/#/portal/) if you enjoy this podcast. You’ll learn about way more punk records than we can pack into the pod! ### cicada are from richmond, the best hardcore scene in the u.s. URL: https://see-saw.fun/cicada-are-from-richmond-the-best-hardcore-scene-in-the-u-s/ Last updated: 2025-09-08T16:01:45.000Z I don’t know much about bugs—one of my many faults—but you don’t have to be an entomologist to know a cicada when you see or hear a member of their freaky brood. I know more about ’80s hardcore, albeit secondhand, than the order of Hemiptera, or “true bugs,” of which cicadas rank. But not unlike “punk” or “hardcore” being used to classify music willy-nilly, “bug” is about as precise a term when it comes to referencing the 10-quintillion odd critters known to grace the globe. And so we’re left with the kingdom, phylum, class, order, family, genus and species of punk rock, and your—I dunno?—garden variety: Proto Mid-Atlantic D.I.Y Anarcho D-Beat Stenchcore Punx? Richmond’s [Cicada](https://unlawfulassembly.bandcamp.com/album/cicada-wicked-dream?ref=see-saw.fun) are just as quick to cite largely unsung Japanese and Italian underground hardcore punk outliers from generations before they were born as primary influences (Cheetah Chrome Motherfuckers, Gauze, Gudon, Indigesti and Wretched) as they are to dismiss kowtowing to genre altogether. Cicada are the Hemiptera of bands: “true punks.” Sure, they look and sound it, but after spending a little more than an hour with the four members at their practice space sandwiched between a makeshift church, indeterminate department store, and an auto bodyshop, the band’s defining trait is a bond between members and their insistence to exist on those terms alone. Even when Cicada’s guitarist Brendan Reichhardt pinpoints the distinct sound of hitting “every single note on the fretboard in, like, a 42-second song,” it’s the attitude he describes which crystallizes the blunt force impact of Cicada: “pushing it to its limits and not staying within a specific box.” Their singer Jordan Barrett cuts to the heart of the matter with a matter-of-fact origin story of band from when he and Brendan were still living in DC. “We were talking about how we were both the most depressed we’ve ever been, and Brendan was like, *You wanna start an Italian-style hardcore band when we move to Richmond?* And I was like, *Yeah, let’s do it.*” --- **How’d you land on the name Cicada?** Felix Gotschalk (drums): From what I remember, we bounced a lot of names off of each other and they all kind of sucked. Cicada was the one we could all agree on. **What were some names that sucked?** Felix: There was Mustard Boys. And Bizarro.\[*everyone laughs*\] Jordan Barrett (vocals): When Brendan threw out Cicada I started thinking about the crazy memories I have of Cicadas, like, walking on the ground as a kid and crunching a million dead ones. Exoskeletons everywhere. They're such a cool fucking bug. But the one thing is when we started the band, we didn't want to have any bug imagery. Kevin McCormick (bass): Yeah, someone commented on some video, *Are they gonna break up? And their next release is 17 years from now?* Felix: Every time we've commissioned someone for art we’re explicitly like, *No bugs*! Jordan: It’s also death and rebirth. Brendan Reichhardt (guitar): I remember when I was a kid and it was like a wonderland of them. I was blown away by it. I would—pretty cruelly—go around with a Power Rangers sword and just cut them in half. Then the next time I saw them was living in DC and I was going to this audio engineering school and it was like the fucking plague. There wasn’t a centimeter anywhere that you wouldn’t see a cicada. The sky was black with cicadas and I hated it. **You all** **play in other bands and even some of the same other bands. How do you differentiate Cicada from all the various projects?** Felix: Cicada feels like the thing I’m most excited to do. It’s the most intensive songwriting out of every band I’ve ever played in and feels really true to what I want to be doing. Brendan: With Cicada, you can’t take one of us out and have it be Cicada. We clicked so naturally. Everyone brings something to the table that ends up working and feeling intuitive. Kevin: Each band is doing its own thing. It’s not a super thought-out or constructed thing. It’s just like you put all the people in a room and you naturally converge all of their influences and make whatever that band is gonna be. None of the bands are restricted. Cicada just sounds like Cicada. Black Button sounds like Black Button. **How do you prioritize your various bands?** Felix: It happens pretty naturally. One band will be doing things during a certain time of the year and you focus on that. **Cicada has a European tour coming up. What’s the consensus? Are you all excited?** Brendan: Oh yeah. We’re very excited. We get to go out with Necron 9, who are good friends of ours. Leo, who plays drums in that band, put out the record for us. Jordan: It’s one thing to be going on such an exciting tour, but also doing it with our good friends who we don’t get to see very often, who just happen to be one of the best bands in America. And going to a bunch of places I haven’t seen before. Yeah, that’s gonna be super sick. **Have any of you been there before to play music?** Brendan: Yeah. I went there about 10 years ago with my old band Protestor from DC. We did a tour with Red Death around the same fest that we’re gonna be playing: K-Town in Copenhagen. It was awesome. Felix: Our good friend Bobby from Brainrotter booked the whole tour for us. He’s really who we have to thank for the whole thing. Kevin: We met him in Milwaukee at the Unlawful Fest and he was like, *If you guys ever want to come to Europe, let me know*. Then he booked the whole thing and we’re all so grateful for him. He's doing so much. He’s letting us borrow gear and he organized getting a driver, getting a van. And he’s done all the work. I don’t know how we’ll ever pay him back. Felix: Do the same for him whenever he tours the U.S., I guess? Kevin: Exactly. Felix: It was funny. I just mentioned touring to him and he was like, *Yeah mate, we’ll get you sorted.* And that was kind of it. **Do you have any reservations about being Americans traveling overseas with so much Ugly American behavior running rampant?** Kevin: I don’t think any of us are happy with Americans either. Felix: All those people know and can appreciate that we don't support the way that our government acts. Kevin: We’re on the same page regardless of who’s president, but we don’t really rock with presidents. **I had some friends touring overseas recently who felt paranoid about not being welcome as Americans, punk band or not.** Kevin: Anything could happen, but we’re gonna go out there and try and do it and we’ll see what happens. Brendan: I feel like people have pretty level heads on their shoulders in terms of us not being the ones who are doing the horrible things, you know? We’re not responsible for this. I can’t say the same for Americans when people come over here, but at least I know in the punk scene no one’s gonna be giving us a side eye. **Is there any pressure to acknowledge politics more explicitly?** Jordan: I don’t feel any pressure. In general, I don’t make a ton of political statements on stage or with music. The songs aren’t explicitly political, and I feel in that sense, I try to let it speak for itself rather than saying the same shit that everybody says, like, *Fuck, it sucks.* Everything sucks,man*.* We know! You know? Kevin: Yeah a lot of the time that’s people talking to reaffirm that everyone on the same side is on the same side. It’s like, *I get it.* There’s some value to that. But there’s more to be said when you’re actually doing something as a band, like playing benefit shows or actually raising money to donate and show your voice that way. I think it’s less important to explicitly say things on stage. It’s a bubble. Actually doing something is more important. **Do you have a preference for how people hear your music?** Brendan: YouTube. Physical media is king, but I don’t care about getting it on streaming platforms or anything like that. I want it to be accessible to people, but I don’t necessarily want to contribute to things like Spotify or Apple Music or whatever or pay to have it put on somewhere. If someone wants to do that, that’s fine. But the most important thing is to share music with friends and in the community. Felix: All our music is on Soulseek. That’s the one place to find it all. Kevin: I think it just feels bad to try and be a marketing agency for your own band. You know what I mean? It just feels bad. Like it feels wrong. It shouldn't be something that we should have to do. Felix: It’s embarrassing. Kevin: I don’t think it’s about *fuck bands who do that.* It just feels bad for us. We’re lucky to work with labels who are down to handle it and we just get to be a band and not a marketing agency. **Touring Europe without any social media seems like a luxury. Do you think social media is the easy way out or is there risk associated with not having that presence?** Felix: That’s the norm with the kind of punk that we play. Nobody has an Instagram. The way anybody finds out about a show is from a promoter flyering around the city or a promoter posting it on their personal Instagram. The people that want to go to these shows know that. Kevin: Having a bunch of Instagram followers doesn’t mean that people are gonna come to the show either. We’re existing in this bigger world of punk bands existing in the scene, and the scene is the scene all over the world. Everyone is excited to go to shows and wants to support touring bands because then they get to see some cool shit that they haven’t seen before. Jordan: I think the whole thing speaks to why it’s so sick to do things without the help of, like—I don't know, a fucking Taco Bell sponsorship. We don’t have our stuff on Spotify or whatever. We don’t have an Instagram, and we are still able to do all this shit. We’re able to go on this tour just from making a friend. That’s the beauty. Brendan: It’s a community. This punk scene is a global thing and you meet people along the way. And I think there is no magic trick or mystique or anything. It’s just if you want to do it, you start doing it. I think that’s true for anything. You just keep plugging away, and you meet people who like your stuff and get excited, and it grows from there. Felix: Everybody is friends. All the punks are friends across the globe. Kevin: There will probably be some duds, but I don’t think having an Instagram would make more of the shows pop off. And if we do a good job, then people are naturally gonna come out more next time we do the thing. The tried and true way a band should operate is touring. That’s the only way—actually engaging with it in person. Brendan: And I love a dud. My other band Hologram played this show in Louisville, Kentucky back in 2021 with Fashion Change from Seattle. I think there were two people there and a sound guy. And it was a huge room. And it was so much fun 'cause we just got trashed and didn’t care. It was kind of more freeing than actually playing to a bunch of people. And the people who were there bought stuff and we crashed with them. Jordan: I do really enjoy a bizarre show. That’s my favorite shit. We’ve played Ohio three times probably. And everybody’s like, *Why?* It’s because I fucking love Ohio. **Where in Ohio?** Jordan: We played Cleveland, Cincinnati, and Columbus. All really great shows we had a lot of fun at. No. We played four shows in Ohio. Because we played that college show with Hotline TNT in Athens. We toured with Hotline TNT— Felix: They have Instagram.\[*everyone laughs*\] Jordan: They have Instagram, but we rock with them. Kevin: People came out because of that. Jordan: We played this festival for the Ohio University radio station. The dude before us was just playing like an acoustic guitar and talking about, like, parking lots and stuff. And then we played and that was the drunkest I’ve ever been. Kevin got really hammered too. It was a beautiful little town with a funny, cool bar. I had so much fun. Felix: Yeah, we were doing crazy shit on stage. I was standing up behind the drum kit. Jordan: Yeah, we didn’t give a fuck. There was a frat boy mosh pit. ![Cicada performs live](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/09/cicada-live.jpg) Cicada, photo by Tim Abbondelo **What’s your favorite place for Cicada to play?** Brendan: The best show we ever played was Unlawful Assembly Fest. Jordan: I’m trying to think of my favorite place that we’ve been because of music. Kevin: New Orleans. I love New Orleans. Jordan: New Orleans was for sure up there. Felix: That was another dud, even though there were 400 people there. **Why a dud?** Felix: This black metal band played for an hour before us and everybody left. Jordan: It was New Year’s Eve and everybody just kind of came to party. And then we played right before the ball dropped and everybody left right before because it’s such a party town. **Where are you excited to play on this tour?** Jordan: Paris. Croatia, for sure. Copenhagen. Brendan: Everywhere, but especially some of the out-of-the-way cities that I’ve never heard of, like Pula. Jordan: Pula is the city in Croatia that Leo found a last minute show for us. It’s a coastal town where everybody seems to vacation. All we heard is that it’s good swimming, so stoked on that. Kevin: I think wherever we go, it’s gonna be fun because it’s a brand new place and we’re all just gonna be having fun, hanging out, as long as we don't get pulled over in Austria for being overweight or something. **Tell me about your relationship to the punk scenes in Richmond vs. DC, since Brendan and Jordan have lived in both cities.** Jordan: Richmond is the greatest hardcore punk scene in America. If you live here it’s pretty easy to just say that. Everybody here is awesome and plays in an awesome band. There’s a new band popping up every second that’s really good and everybody’s friendly and awesome. And I hear people talk about other scenes in America and I’m like, *This just sounds horrible.* Felix: Everywhere we’ve been on tour people tell us Richmond has the best scene in the country, which is crazy. Jordan: All of this sounds very self-stroking, like, *We’re the shit. Blah, blah, blah.* But I hear so much shit about egos and bullshit and people who are playing in bands that are not worth noting who think they’re hot shit. We don’t really have much of that here. Felix: Yeah, we don’t have that here at all. Everyone's humble and kind, and friends with one another. All the bands rip and we have great community spaces like the Warehouse and VSC, where shows have gone on for years. I think a lot of other cities don’t have consistent pillars of the community to allow their scenes to thrive. Kevin: All this stuff builds on itself and it takes years to actually make something where there can be a new band or two every month and they can get shows and they can thrive right out the gate and be excited and don’t have to struggle as much as you might in another city where it’s hard to get your first show. The punk scene here has been building for, honestly, like decades. I think we’re just in a cool time to be living in Richmond and playing punk music and who knows how long it lasts. It’s bigger than us. It’s the city itself and it feels good to be living here right now, aside from rent and shit. It’s all love to anybody doing this shit anywhere, Richmond just happens to be the best right now. Felix: The five to ten punks in DC do try really hard and do a good job. **Is doing the punk thing easier in Richmond than DC?** Brendan: It’s funny 'cause there was a time where it flip flopped. When I first started going to shows, I hated coming down to Richmond ’cause DC was where it was popping off. And there was a ton of bands. Felix: It was all stoner and sludge bands here back then. Brendan: Hardcore, like gang shit, like crew shit. Richmond was pretty macho for a while, so coming down here was crazy. I started to feel like I was definitely Void-side of the Faith/Void-split, and I was like *there’s not a lot of shit like this*. And so I just started to gravitate more towards that and wanted to do more bands like that. It was more of a personal falling out with DC than saying that DC fell off. I just had my own ideas. And I think we got in at a time when there was an upswing again with new bands and a ton of people moving here. That’s kinda what you need. DC gets new life in, but the political climate is getting worse and it’s hard to live there and I felt that acutely. Cops everywhere. It’s just fucked up. **Any plans for new music in the coming year?** Felix: We got half a song written for an LP. We just need another half, and then maybe 10 or 11 more songs. Maybe 12\. Our songs are pretty short. Kevin: After the tour will be writing time. **Are your families supportive of Cicada or even into Cicada?** Brendan: Oh yeah. My stepmom isn’t like a huge fan of loud music. And my dad, you know, he’ll call me sometimes and be like, *I really like that rhythm in that one song*, or whatever, you know? But yeah, fully supportive and very excited about it. Jordan: My parents don’t really understand it or enjoy it, but they fuck with it. They like that I get to hang out with my friends and am doing something productive and being able to travel because of it. I think they’re stoked on that. **With hardcore punk in such a stable place, with a growing audience, what’s the challenge of keeping it exciting and creative?** Brendan: I’m always excited by a band that does something new when you can hear the actual individual in that band. That’s what gets me excited. All the D4MT Labs bands in New York: Kaleidoscope, Tower 7, Straw Man Army, Destruxion America? That shit is awesome to me. I don’t think people should be afraid to do something different. Not that theres anything wrong with a genre band or a specific style. Felix: Yeah. Everyone needs to keep playing fast. That’s it. End it. --- *see/saw is a fully independent punk and rock'n'roll journalism operation. If you enjoyed this piece, please consider* [*subscribing*](https://see-saw.fun/across-the-uk-with-twisted-teens-and-their-unreleased-album/#/portal/)*.* ### punk this week: no peeling, street eaters, winston hytwr + 22 more URL: https://see-saw.fun/punk-this-week-no-peeling-street-eaters-winston-hytwr-22-more/ Last updated: 2025-09-05T18:32:07.000Z Hey, it’s [Punk This Week](https://see-saw.fun/tag/punk-this-week/) on a Bandcamp Friday. That means there’s a massive amount of great new punk and rock'n'roll music to sift through for the latest in this series of weekly recommendations columns. Have you heard the new No Peeling, Street Eaters, Winston Hytwr, Loose Lips, or Quintron and Miss Pussycat records? How about Heavenly Pop Hits’ massive [PCRF benefit](https://heavenlypophits.bandcamp.com/album/one-day-everyone-will-have-always-been-against-this-a-benefit-for-the-palestine-childrens-relief-fund?ref=see-saw.fun) or the lead singles from next week’s HARAM drop? Truthfully, there’s a massive amount of deeply sick new punk music coming out all the time from all over the world. This full column gets delivered to the inboxes of [paid subscribers](https://see-saw.fun/#/portal/) every Friday. That’s $4/month, $40/year, or [barter](https://see-saw.fun/bartering/); there’s a two-week free trial, too. I have a day job, but would love for this to be my sole focus someday because I love writing about this music. [Kick over a few bucks](https://see-saw.fun/#/portal/) and read about the ocean of wild new rock'n'roll records that await. --- **No Peeling:** [***No Peeling***](https://nopeeling.bandcamp.com/album/no-peeling?ref=see-saw.fun) **\[Feel It\]** The self-titled wild-eyed new wave 7” from Nottingham’s No Peeling never, ever lets up—a masterclass of making the most of every single moment you’re given. They stuffed seven songs on this record, and every one of them drives ahead and ahead and ahead, like a band who’s engineered a live show without pauses. There are perfectly placed lead guitar moments, big textural and percussive change-ups, and perfect synth stabs wherever they’re needed. Sophie’s vocals veer from conversational to playful to forceful; the listener’s never given the chance to find their footing, which means they’ve got to keep dancing. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/09/a2131915765_10.jpg)](https://nopeeling.bandcamp.com/album/no-peeling?ref=see-saw.fun) --- _This post is for paying subscribers only._ ### punk this week podcast 48: vaguess + disciplinary action URL: https://see-saw.fun/punk-this-week-podcast-48-vaguess-disciplinary-action/ Last updated: 2025-09-02T20:48:47.000Z ![audio-thumbnail](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/media/2025/09/punk-this-week48_edit_mixdown_thumb.png) punk this week 48 0:00 /3239.702917 1× [Punk This Week](https://see-saw.fun/tag/podcast/) *is see/saw’s free weekly podcast from co-hosts Evan Minsker and Nina Corcoran—a discussion of the latest and greatest in the world of punk rock. We talk about six new punk records we’re loving from the past week.* As summer winds down, we’re making apple butter, discovering the actual contents of apple butter, and feeling wistful about the changing of seasons with records by [Vaguess](https://refryrecords.bandcamp.com/album/another-mans-treasure?ref=see-saw.fun), [Lathe of Heaven](https://latheofheaven.bandcamp.com/album/aurora?ref=see-saw.fun), [An Slua](https://anslua.bandcamp.com/album/sure-look-it?ref=see-saw.fun), [Retirement Party](https://retirementparty.bandcamp.com/album/nothing-to-hear-without-a-sound?ref=see-saw.fun), and [Carnivorous Flower](https://deadbrokerekerds.bandcamp.com/album/carnivorous-flower?ref=see-saw.fun). Then we throw away all that sentimentality to blast some gnarly powerviolence from [Disciplinary Action](https://disciplinaryaction.bandcamp.com/album/disciplinary-action?ref=see-saw.fun)! --- Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.fun). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/see%5Fsaw.fun/?ref=see-saw.fun) and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). Have a question you’d like to hear addressed on the show? Want to talk about a new record we didn’t discuss? Want to send a HARD PIVOT or NO AMERICANS bumper? Join us on the see/saw [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun) or email us: [see-saw@see-saw.fun](mailto:see-saw@see-saw.fun). *Punk This Week* is made possible by see/saw subscribers; please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-47-bootcamp-fen-fen/#/portal/) if you enjoy this podcast. You’ll learn about way more punk records than we can pack into the pod! ### playlist: the best punk songs of august 2025 URL: https://see-saw.fun/playlist-the-best-punk-songs-of-august-2025/ Last updated: 2025-09-01T15:34:03.000Z It’s Labor Day. There’s a see/saw-presented show headlined by [Ekko Astral happening at Leona’s](https://volumeonetickets.org/e/live-at-leona-s-ekko-astral-with-kat-the-hurricane/tickets?ref=see-saw.fun), the great Eau Claire pizza place, tomorrow night (9/2). Our apple tree’s branches are buckling under the weight of a massive harvest, so my mom and I picked probably 20 pounds worth, peeled and sliced half of them, and threw ’em in the slow cooker to make apple butter. The two other humans living in my house are heading to school this week as the toddler goes to daycare for the first time. The world at large is a fucking nightmare. It is a moment of transition and processing. We did our best to take a breather before our collective schedules fill up, which is why I climbed into a giant fish sculpture’s maw wearing the Panel shirt and [blogged about it](https://see-saw.fun/the-panel-shirt-is-the-best-punk-shirt-of-2025/). Otherwise, in times of upheaval, it’s helpful to ground myself in the art of international weirdos dropping loud and wild music on Bandcamp from week to week. It was such a great month for new punk records, established and brand new artists alike, and the act of engaging with dozens of records on the [podcast](https://see-saw.fun/tag/podcast/) and [column](https://see-saw.fun/tag/punk-this-week/) is legitimately steadying. It was a complete honor to speak with my hero [Julie Klausner](https://see-saw.fun/julie-klausner-on-punks-sampling-john-waters-misheard-dead-kennedys-lyrics/) about punk records. I loved Martin Douglas’ wide-ranging and earnest chat with [Fugitive Bubble](https://see-saw.fun/fugitive-bubble-have-questions-about-your-supposed-conviction/). Alex Stillman is such a hero for providing an on-the-ground account of [Twisted Teens](https://see-saw.fun/across-the-uk-with-twisted-teens-and-their-unreleased-album/)’ UK run. The [*see/saw jukebox* with Drew Ailes](https://see-saw.fun/see-saw-jukebox-04-citric-dummies-drew-ailes/) was extremely fun (and is the only place you’re gonna hear a preview of the upcoming Citric Dummies album). see/saw did all of this stuff while I was working a day job and parenting a toddler. My mom’s in town and asked me if I’m still enjoying all this punk coverage stuff, and before she could finish the question I was blurting out “yes.” Maybe one day it’ll get tedious, but in this shifting moment, punk’s an anchor. Thanks for reading and listening, [please subscribe](https://see-saw.fun/#/portal/) if you’re into this kind of thing. \[Listen to the playlist in the browser or [find it here](https://www.buymusic.club/list/seesaw-see-sawfuns-best-punk-august-2025?ref=see-saw.fun).\] --- [**the best punk songs of august 2025**](https://www.buymusic.club/list/seesaw-see-sawfuns-best-punk-august-2025?ref=see-saw.fun) American Muscle: Crime for Love Surto Coletivo: DCOK7 No Peeling: Can I Pet That Dog? 1-800-MIKEY: Lost in Translation Abi Ooze: B Wif Me Shox: Hung Vaguess: Take It or Leave It Carnivorous Flower: All the Time Sharp Pins: (I Wanna) Be Your Girl Dorothy Fuzz: I Wish Bootcamp: Asylum Recall: Corpse Wiccans: Vermiform (In a Perfect World) Baby Tyler: The Pressure Fen Fen: In Yer Sights Deletär: La balance et le glaive Revanche: Rives Black Eyes: Pestilence Cool Sorcery: fast cars TTTTURBO: Modern Sound Lebende Tiere: Poltergeist Mr. \[Redacted\]: Jittery Joe Retain Mind: Jolt Sick Thoughts: The Doom An Slua: Dry Shite Laundry Bats: Cruisin’ on Fumes Dick Move: Nurses The Prize: In the Red Leatherman: Love Really Hurts Without You Sex Mex: (Who Cares) Time to Die Primitive Impulse: Dogs Will Hunt S.M.I.L.E.: My Rules (Void) fléches: violence Yuasa-Exide: Land Speed Recorder Dragnet: Red Square Useless Eaters: Work Detester: Dumbfucks o-d-ex: talents Osees: Protection Misere: Abrieb The Antics: Takings Champ Gauche: Protection du voisinage Necia: Want Dog Lips: Brain Feeder Gripper: SEANCE Brin Damage: Out of Quarters Richard Root & the Fancy Band: Bruna Medium: Calling Is the Time Higher Selves Playdate: Take Me With You Giant: Thumpman Hunx and His Punx: Bad Thoughts Bugg Music: Dumpster Baby Grifterz: Cannibal Rights Addled Brains: Fetterman The Burrow: Dance Dance Revolution Retail Simps: Alligator Man Segundos Auxilios: Profe no nos de clase Monda: I, I, I, I Top Secret Nicho: Dining Nothing The Sleeveens: Downtown Starburst: Good RX Jobber: Nightmare The Boojums: Wings of Fire Primitive Ring: Rolling Greed Die Spitz: Punishers SNIDE: Shop Mini Skirt: Pottsville River TEE//VEE: Neat Rats, Neat Clothes Bront: #9 Furia Fatal: Combo Breakr Maitatu: Class Trap Big Laugh: Numb Fuck Money: On the Nose Snarewaves: STIMMY Ack Attack: Bag Fries Hyperdog: Smartphone morkvag: Thrown My Away Switch Hitter: Batting for Both Teams Worse: Fed Up Total Flesh: In Control Fan Club: Roach Motel Psyclop: Invertebrate Camouflage: POWERS OF HORROR / FUTURE SOLDIER TRAINING PROGRAM Normativ: Papers Back Bronco Libre: La fin DREAM: The Book Bottled Violent: viva la palestine! Traidora: Disforia Eterna GAMMA: Vain Impulse Plastics: Masochist in Love PATROLTIME: violento Cross Bottle: Spreading Lies Fog: No Fate --- *see/saw is an independent punk and rock'n'roll newsletter. Please consider a* [*subscription*](https://see-saw.fun/#/portal/) *to learn about new punk music each and very week + to lend your support to a fully reader-backed publication.* ### punk this week: laundry bats, vaguess, o-dex + 22 more URL: https://see-saw.fun/punk-this-week-laundry-bats-vaguess-o-dex-22-more/ Last updated: 2025-08-29T23:22:07.000Z Happy Labor Day weekend, and what better way to celebrate than with a massive new installment of see/saw’s weekly punk and rock'n'roll recommendations column [Punk This Week](https://see-saw.fun/tag/punk-this-week/)? There are some absolute treasures this time: an all-power Memphis supergroup’s new full-length, a new electro-punk project from a Marked Man, some top shelf Irish Oi!, the return of the great Vaguess, an absurdist Detroit rock'n'roll LP, and so much more. This one’s over 2,000 words long, so you’re bound to discover something you’ll love in here. If you’d like to receive Punk This Week in your inbox every Friday, [subscribe to see/saw](https://see-saw.fun/#/portal/) for $4/month or $40/year or barter. You’ll get the weekly column right to your inbox, bonus podcasts (including today’s extremely good [*see/saw jukebox* episode](https://see-saw.fun/see-saw-jukebox-04-citric-dummies-drew-ailes/) with Citric Dummies’ Drew Ailes), and the [see/saw radio](https://see-saw.fun/see-saw-radio/) archive. As an independent operation, [subscriptions](https://see-saw.fun/#/portal/) are the only way this thing sustains long-term. Thanks for reading and supporting this labor of love. Have a lovely weekend. --- **Laundry Bats:** [***Hangin on a String***](https://hozacrecords.bandcamp.com/album/hangin-on-a-string?ref=see-saw.fun) **\[HoZac\]** As Gonerfest approaches, here’s a surprise treasure from three Memphis greats. Laundry Bats is a supergroup, two-thirds of the Oblivians with Manateees’ Abe White instead of Eric Friedl. This is the most biting rock’n’roll Greg Cartwright and Jack Yarber have made in my adult life, just burly Memphian flexing. There are twists to the expected formulas: “Bizness” sounds fully ripped from the Jagger/Richards early ’70s playbook and “Lawnmower Man” has some spaghetti Western brass. That ambition doesn’t dampen their punk rock impulses, because “Nightmare” and “Cruisin’ on Fumes” are absolute fucking rippers worthy of the Manateees and first wave Oblivians mantle. There’s swagger and snarl and punch. In the world of garage punk supergroups, especially one featuring genuine legends, this is the best case scenario. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/08/a0887420435_10.jpg)](https://hozacrecords.bandcamp.com/album/hangin-on-a-string?ref=see-saw.fun) _This post is for paying subscribers only._ ### see/saw jukebox: citric dummies’ drew ailes URL: https://see-saw.fun/see-saw-jukebox-04-citric-dummies-drew-ailes/ Last updated: 2026-06-04T22:12:45.000Z [*see/saw jukebox*](https://see-saw.fun/tag/jukebox/)is a bonus podcast from *Punk This Week* hosts Nina Corcoran and Evan Minsker. It’s available exclusively to [paid see/saw subscribers](https://see-saw.fun/see-saw-jukebox-03-pigeon-pits-lomes-oleander/#/portal/). ($4/month + there’s a two-week free trial.) In each episode, Nina and Evan are joined by a guest; all three pick a perfect punk record to add to the idyllic punk jukebox of their mind. This time, we’re laughin’ our dang butts off because our guest curator is [Citric Dummies](https://citricdummies.bandcamp.com/album/trapped-in-a-parking-garage?ref=see-saw.fun)’ Drew Ailes. This Minneapolis punk hero’s got stories about making peace with a former nemesis at an Andrew W.K. concert, confronting some rude bros at a Spoon show, and getting kicked out of a film class after cussing out the teacher. (The unit was on *2001: A Space Odyssey*.) For the first time, we add an *unreleased album* to the jukebox. To learn more about Citric Dummies’ very good, as-yet unannounced, and imminent new album—including its deeply funny title and a preview of its lead single—join the three of us at the jukebox! [Subscribe to see/saw](https://see-saw.fun/see-saw-jukebox-03-pigeon-pits-lomes-oleander/#/portal/) and listen below! --- _This post is for paying subscribers only._ ### punk this week podcast 47: bootcamp + fen fen URL: https://see-saw.fun/punk-this-week-podcast-47-bootcamp-fen-fen/ Last updated: 2025-08-26T13:57:09.000Z ![audio-thumbnail](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/media/2025/08/punk-this-week47_mixdown_thumb.png) punk this week 47: bootcamp + fen fen 0:00 /3628.412708 1× [Punk This Week](https://see-saw.fun/tag/podcast/) *is see/saw’s free weekly podcast from co-hosts Evan Minsker and Nina Corcoran—a discussion of the latest and greatest in the world of punk rock. We talk about six new punk records we’re loving from the past week.* It’s official: *Punk This Week* is one year old. What a joy to podcast with each other about punk records during what feels like a genuine boom period for great loud music. Thanks to everyone who’s ever enjoyed this podcast. Please write us a review and tell your friends. This episode gets into the new records from [Bootcamp](https://convulserecords.bandcamp.com/album/times-up?ref=see-saw.fun), [FEN FEN](https://fenfen.bandcamp.com/album/in-yer-sights?ref=see-saw.fun), [1-800-MIKEY](https://1-800-mikey.bandcamp.com/album/2-kaiju-lost-in-translation?ref=see-saw.fun), [Friction Tape](https://frictiontape.bandcamp.com/album/compact-filing-man?ref=see-saw.fun), [TEE//VEE](https://boundhousearchive.bandcamp.com/album/excercise-tape-number-one-un-mixed?ref=see-saw.fun), and [Insane](https://insanenoisenotmusic.bandcamp.com/album/rehearsal?ref=see-saw.fun). --- Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.fun). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/see%5Fsaw.fun/?ref=see-saw.fun) and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). Have a question you’d like to hear addressed on the show? Want to talk about a new record we didn’t discuss? Want to send a HARD PIVOT or NO AMERICANS bumper? Join us on the see/saw [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun) or email us: [see-saw@see-saw.fun](mailto:see-saw@see-saw.fun). *Punk This Week* is made possible by see/saw subscribers; please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-46-mr-redacted-gnomocop/#/portal/) if you enjoy this podcast. You’ll learn about way more punk records than we can pack into the pod! ### across the uk with twisted teens and their unreleased album URL: https://see-saw.fun/across-the-uk-with-twisted-teens-and-their-unreleased-album/ Last updated: 2025-10-03T16:18:16.000Z Ever wonder what it would sound like if a bunch of fiddle players tried their hand at garage punk? Yeah, me neither, but Twisted Teens seems to have invented a style that transcends any referential material that might come to mind. With a history in old time music, folk, and punk, [Twisted Teens](https://cpnpc.bandcamp.com/album/twisted-teens?ref=see-saw.fun) have somehow created a sound that’s hard to nail down. The group is led by Caspian and RJ on guitar and pedal steel respectively, along with a rotating cast on additional guitar, bass, and drums. Based in New Orleans, on this particular tour they are joined by Mo on guitar, Sonya on bass, and Max on drums. I came across their [debut release](https://cpnpc.bandcamp.com/album/twisted-teens?ref=see-saw.fun) in a group chat last summer, and it was pretty infectious off the bat. As an analogue media freak, I ordered the only physical version available at the time, which was a cassette release from Germany. (It came in the mail wrapped in toilet paper). I am so glad I did because I think I impressed Caspian one night last November in NOLA while touring with [Visual Learner](https://visuallearner.bandcamp.com/album/greg-2?ref=see-saw.fun) and [Dusk](https://countrydusk.bandcamp.com/album/dusk?ref=see-saw.fun) and promoting my new pressing plant in Minneapolis, [Outta Wax](https://www.outtawax.com/?ref=see-saw.fun). Fast forward to late summer 2025 and we’re on the third pressing of Twisted Teens’ original self-titled album. When preparing for the tour, we also pressed an unreleased album called *Blame the Clown* (not available anywhere online—only the Euro tour and soon from [Chainsmoking Records](https://chainsmokingrecords.com/products/twisted-teens-lp?fbclid=PAZXh0bgNhZW0CMTEAAacagHutbH-rdy8RbDB8-L5-ts8qoVUw7DEtitffwixmZt-bfyWmA390p9x1Ig%5Faem%5FJZ6pNcJxnn9PheO1JBkv-A&ref=see-saw.fun)). Record pressing has so many moving parts that need to align for a release date to work out, most of which are out of the control of the people doing the pressing. We were able to get the records pressed, but the jackets were not done in time for the tour. I decided to use my DIY skills to risograph stickers and affix them to blank chip board jackets for a limited 60 copy run. [BATTLE FOR L.A.: a see/saw benefit by Twisted Teens](https://see-sawdotfun.bandcamp.com/album/battle-for-l-a-a-see-saw-benefit?ref=see-saw.fun) With the last minute and constant moving nature of touring, it ended up being more economical and reliable (and fun!) for me to just personally fly 180 records (60 of *Blame the Clown* and 120 of *Twisted Teens*) and meet the gang in London. I arrived at London Heathrow to find the bag had broken. No real problem there, though the band had to come get me in London traffic on their way from Brighton to Bristol for the first gig at Cafe Kino. I was delighted on the way to learn that Katie Thornton of Minneapolis’ [Constant Insult](https://constantinsult.bandcamp.com/?ref=see-saw.fun) happened to be traveling through Bristol on her way home from a conference discussing Esperanto (yes, you read that correctly, and no, I will not be digging into that, you’ll just have to follow Katie’s journalistic exploits to learn more). Cafe Kino’s (cooperatively operated since 2003) smell, look, and feel was hard not to compare to Minneapolis’ own Seward Cafe (collectively owned since 1973). I grabbed a Club Mate and slid into a booth, enjoying a vegan burrito provided by the lovely promoter of the show, Harry. The show was in the basement of what was otherwise a very bright room upstairs. Opening bands were a mix of garage and old time rockers. Teenagers and greyhairs played pretty steady garage rock as people slowly filed into the basement. ![Twisted Teens at Cafe Kino in Bristol](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/08/cafekinobristol-copy-2.jpg) Twisted Teens at Cafe Kino in Bristol By the time the first chords of “Something I Haven’t Told You” struck out, the room was quite packed. As the first set of songs came to a close, Caspian addressed the crowd atop a stool, “I just broke my foot in two places—first place was in Dublin, second place is my foot.” I was so impressed by the wide range of people that showed up to this show, some of whom were singing along by the time the dance-y stand out banger, [“when the wires get cut”](https://cpnpc.bandcamp.com/track/when-the-wire-get-cut?ref=see-saw.fun) despite being the band’s first time in Bristol—actually it was their first show in England full stop. After the show we headed to Harry and Rory’s apartment atop a record store atop a venue (Bristol seems to really have it going on) before having pints at a pub called Elmer’s (where the barkeep was in fact named… Elmer). I was so surprised to see that I had many personal connections in and outside the band. Most notably, Max’s friends were legendary troublemakers in my freshman year of college at SAIC after getting asked to leave school for playing with a knife at a lecture by George Lucas and refusing to apologize. The next morning Rory made us a proper breakfast of beans and toast and we were off to Brighton. This is where we were united with Steven of [Blood Red Shoes:](https://www.bloodredshoes.co.uk/?ref=see-saw.fun) proprietor of [Jazz Life records](https://jazzlife.bandcamp.com/merch?ref=see-saw.fun), home of the UK pressing of the Teens’ self-titled album, and organizer of this leg of the tour. The vegan hot dogs we received a two pound discount on were fucking terrible. The room was full once again and people seemed to be generally enjoying themselves, but there wasn’t a lot of movement. Do people in England tend to not dance? Since this show had the “touring band sandwich,” the set was cut a bit short but not before a new driving up tempo with the previously unreleased song “Why Did You Miss Me.” It is incredible to me that this band can pivot from a straight up country track like “Tic Tac Toe” to the moody garage sensibilities of “Is This Real?” \[*Hear the latter track (in a browser) below.*\] Twisted Teens - Is It Real? 0:00 /181.918957 1× Between the hot dogs and beans on toast, let’s just say the next morning we were absolutely starving for something green. Caspian and I ended up at a Greek spot inside a market in central Brighton. On the way to the bathroom, Cas noticed a couple selling used original pressing punk albums. We bought matching “Ever Fallen in Love” 45 singles among so many original ska & reggae 45s and soul LPs at the most reasonable prices (mostly under 10 quid!). We made the drive back to London for the most anticipated show of the weekend, a sold out gig at Third Man Records. It was quite brutal at one point, taking over an hour to go 20 miles. As soon as we entered the city center I could hear the queen’s “royal salute” playing in my head and suddenly everything became terribly British. Within the first 10 minutes of driving into town, we saw a cricket match and men in bowler hats opening black cab doors for women in fascinators. It had us all in stitches. We saw a red-faced old white man in a purple suit shuffling along. “I didn’t know you could walk with an accent,” Sonya exclaimed. Third Man is located in the once trendy and hipster Soho neighborhood, which is now like every western European country’s shopping district with the exclusion of the Oasis Tour 2025 store. There was a pretty decent pub across from the yellow record store that is Jack White’s London experiment, filled with antiques like signed autographs from all the Universal Monsters and large copper pots. We closed it down after the show. ![Twisted Teens at Third Man London’s Blue Basement](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/08/bluebasement-copy.jpg) Twisted Teens at Third Man London’s Blue Basement In the lower level of the record store is the Blue Basement where the band was meant to play. With very, very expensive audio equipment, it felt more like a recording studio than a venue. The opening band, [Eel Men](https://eelmen.com/?ref=see-saw.fun), was half from the UK -and half from Atlanta? An interesting combo, but I appreciated their chops. They dressed a bit like the Replacements in plaid suits but sounded nothing like them. The crowd was a lot more posh than we’re used to. I saw a designer handbag or two, which had me wondering who these people were and why they were there. They didn't buy as many records as the previous nights, either. A bit of a disappointment considering the parking cost one-third of what the band was paid that night for a sold out gig. On the way to the parking garage there was a gaggle of young white people drinking by the car. They started accusing us of filming them and tried to pick a fight with Caspian who had a boot on for his broken foot. This also cracked us up. Something about an angry drunk guy with a Londoner accent. The parking lot attendant, a Black guy with an East African accent, came over and apologized. A man at work having to apologize for people whose country colonized his country. Brutal. We headed back to the squat in South London that was formerly a church, where we each had our own little room. The next morning the band headed back to Brighton to record with Steven and I prepared to head home. Twisted Teens have [several more dates left on tour](https://www.instagram.com/p/DM80gN5vfVI/?img%5Findex=1&ref=see-saw.fun). If you find yourself in Western Europe, I implore you to check it out and get one of these otherwise unavailable albums. You know they’ll go hard on Discogs… if the planet survives that long. ![Alex Stillman with Twisted Teens in the UK](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/08/me-TT-copy.jpg) Alex Stillman with Twisted Teens in the UK --- *see/saw is a fully independent punk and rock'n'roll journalism operation. If you enjoyed this piece, please consider* [*subscribing*](https://see-saw.fun/#/portal/)*!* ### punk this week: fen fen, bootcamp, hunx and his punx + 17 more URL: https://see-saw.fun/punk-this-week-fen-fen-bootcamp-hunx-and-his-punx-17-more/ Last updated: 2025-08-22T17:04:28.000Z Hey, it’s Punk This Week, see/saw’s weekly newsletter column covering the best new punk and rock'n'roll records. This week’s genuinely massive with new records from FEN FEN, Bootcamp, Hunx and His Punx, 1-800-MIKEY, the Sleeveens, Jobber, and so many additional gems ready to be discovered. You want to get your ears on the best new punk records out there? You want to read about everything from this week *and* everything I wrote about in previous columns? To access Punk This Week this time and every time, you’ve [got to sign up](https://see-saw.fun/punk-this-week-abi-ooze-fuck-money-pile-retail-simps-15-more/#/portal/) for $4/month or $40/year or barter. There’s a two-week free trial if you want to try it out and dip. In addition to the column, there are [bonus podcasts](https://see-saw.fun/tag/podcast/) and a [full radio archive](https://see-saw.fun/see-saw-radio/) for the paid subscribers. That said, most of the stuff you get on this website is free. Since this thing is fully independent, [subscribing to see/saw](https://see-saw.fun/punk-this-week-abi-ooze-fuck-money-pile-retail-simps-15-more/#/portal/)—free or paid—makes a massive difference in the future of this operation. --- **FEN FEN:** [***In Yer Sights***](https://fenfen.bandcamp.com/album/in-yer-sights?ref=see-saw.fun) **\[Sweet Time\]** Last year, Detroit’s FEN FEN released their deeply promising new album *National Threat* in what’s turned out to be a wildly fruitful period for Wayne County rock’n’roll. *In Yer Sights* is even better, churning and burly in this way that feels like it’s just gonna be about dudes doing dude shit. In sharp opposition to [Heather the Jerk](https://heatherthejerk.bandcamp.com/album/not-very-motorcycle?ref=see-saw.fun) earlier this year, the chain and leather and blood of “Motorcycle” is *very* motorcycle. Then there are these songs about complacency and submission by default, offering insight into a deep-seated anger beyond aesthetic checkpoints. Shout out FEN FEN for the latest Michigan punk rock dog allegory, a tradition as old as the form itself. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/08/a1206639261_10.jpg)](https://fenfen.bandcamp.com/album/in-yer-sights?ref=see-saw.fun) _This post is for paying subscribers only._ ### fugitive bubble have questions about your supposed conviction URL: https://see-saw.fun/fugitive-bubble-have-questions-about-your-supposed-conviction/ Last updated: 2025-08-19T14:10:22.000Z I wandered around the downtown area of Olympia, Washington the day after Juneteenth; red, black, and green flags flapped in the early summer breeze all over its streets. Although it’s being built up brick-by-brick—as Seattle (and even its working-class sister city Tacoma) become increasingly unaffordable and upper-middle-class white people continue to move south—Olympia’s countercultural community has always had a strong foothold in social justice. If I were in any other city in Washington State, I’d be a little surprised by such a clear display of solidarity with its Black community. Thus, on this lovely June 20th afternoon, white people smile at me with enormous cultural subtext as I make my way from a solo dinner at a bougie restaurant on Capitol Lake to the meetup spot I’ve arranged with the members of Fugitive Bubble. In the alley behind locally renowned venue/vegan diner/dive bar Le Voyeur, where any punk worth their weight in cauliflower buffalo wings has played on a stop in Olympia. After a few minutes of waiting in the alley where teen punks would watch the 21-and-up shows through the normally-wide-open back door, Kurt Stevens (guitar, vocals) and Harley Moore (bass, vocals) entered my line of sight, striding together about a quarter-mile down the alleyway toward me. Typhoon Mary, the band’s drummer, was nowhere to be found, which seemed kind of weird to Kurt and Harley, because it was Mary’s idea to meet behind Le Voyeur. (Turns out Mary was double-booked and attending dinner with family.) Some people call it dumb luck, others call it divine timing. Whichever the case, I found it to be significant that I chatted with two-thirds of Fugitive Bubble the day before the man who swindled his way into the United States presidency (twice!) ordered a strike that would, at least temporarily, put our country on the doorstep of WWIII. A big part of the 35-minute conversation I had with Harley and Kurt involved our love for bands that say what they mean and keep a watchful eye on the state of the world—particularly bands like Crass and Minutemen. And their latest album is a direct result of practicing what you preach. [*What Would Happen If We Stop?*](https://sorrystaterecords.bandcamp.com/album/what-will-happen-if-we-stop?ref=see-saw.fun), released in April on Sorry State Records, speaks to the idea that the personal is indeed political throughout its runtime, particularly on songs like “Rot,” “Failed Experiment,” and its climactic title track. The second of those songs ostensibly features not only the central lyric of the album, but arguably the thesis statement of 2025: *“How can you say you’re sane/In this crazy world?/How can you say you’re sane/In this fucked up world?”* If 2023’s [*Delusion*](https://sorrystaterecords.bandcamp.com/album/delusion?ref=see-saw.fun)—rife with bangers like “Fishbowl” and “Chickenhead,” the latter sounding like riot grrrl anthem 30 years too late to the party—evoked the feeling of punk lifers finding their ideal musical partners and creating an insanely worthwhile punk rock album, *What Would Happen If We Stop?* marks the arrival of a punk opus with the ambition of your favorite peak SST albums. The songs highlight a society in decline and the resilience we as humans (who actually employ humanity) must have in order to preserve the things we care about. After grabbing a booth in the front of Le Voyeur, Kurt, Harley, and I talk about the two of them forming Fugitive Bubble in the midst of a romantic relationship and working together in its aftermath, a lot about their recent opus, and the need to say something real when you have the platform to do so. --- ![Fugitive Bubble’s Kurt Stevens and Harley Moore, photo by Martin Douglas](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/08/fugitive-bubble-by-martin-douglas.jpg) Fugitive Bubble’s Kurt Stevens and Harley Moore, photo by Martin Douglas **What led you both to Olympia?** Kurt Stevens: Well, Harley was already in Olympia, but I moved to Olympia for one year in 2015\. And then I moved away; I was living in California, uh… Harley Moore: He was trimming weed. Kurt: Well, yeah. I was growing weed. **I had a friend who’d trim weed on occasion. It’s pretty lucrative, actually!** Harley: Is it OK that I just said that? Maybe don’t include that. Kurt: No, it’ll be fine. I was basically on Instagram and I made a comment on \[Harley’s\] story. And then we just started talking like crazy. After a little while, we fell in love and I moved up here. We were together until like a year ago. Harley: We dated for six years and then we broke up. But we still love each other. And we're still doing the band and we want to play music together forever, and we hang out like once or twice a week, still. **I love that you’re still friends and you still love each other. And you’re still committed to collaborating. May I ask what happened to dissolve the relationship?** Kurt: Over six years is a long time. I think it was just a few things that lasted an extensive period of time that were just not going to work out for both of us in a relationship. Harley: Yeah, but I feel like it’s funny because I feel like we’re just friends. And we always were best friends. And then we always vibed so well musically. On tour, we work the same. We’re both obsessive in the same ways. We write music in similar ways. I think we just realized that’s what we are: best friends and musical collaborators. Kurt: It definitely felt better. Harley: We stopped fighting! We stopped fighting! We were fighting a lot and now we don’t, so that’s good. **That’s great! I feel like you don’t have to be romantically involved to be soulmates.** Harley: I came to Olympia because I didn’t know where I was gonna go next. I just had a friend who was like, “I have a room for rent.” At the time, it was $300 a month. That doesn’t exist now. And then I got a job really easily and it was just the easiest place I could move, ‘cause it was so cheap at the time. I lived in Seattle \[prior to moving to Olympia\]. **That’s when you were in Vats.** Harley: I was in Seattle playing with Vats. And then Vats broke up because everybody at that time—in like 2016—was moving away from Seattle. Office Space was a venue and it had ended. A lot of bands were ending and a lot of people were moving away. All my friends moved away at the exact same time. So I was like, “I’m gonna move away too.” **And so you ended up in Olympia.** Harley: I guess so, yeah. I didn’t think I was gonna last this long here. **I mean, it is changing. It’s so weird to come to Olympia and see the expensive cafés with all the bougie stenciling on their signs.** Harley: Like the “ampersand businesses.” **I’m pre-grieving the old, cheap, shitty Olympia.** Harley: Yeah, yeah, for sure. We are too. Kurt: Yeah, I'm originally from Buffalo, New York. Definitely was extremely cheap to live there. And then I ended up out in Portland in 2008 and it just happened to be as cheap as Buffalo, so I stayed there. It was pretty cool. Fun to be a kid there. **What did you do out there? I heard you’re big into skateboarding.** Kurt: Yeah, I basically skated a lot. Harley: Kurt was in a famous band in high school. Kurt: It wasn’t famous. Harley: Yes it was. Kurt: It was called [Skate Korpse](https://feral-kid-records.bandcamp.com/album/skate-korpse-discography-lp?ref=see-saw.fun). You know, there wasn’t all the shit on the internet. And a lot of people took a liking to it. I wouldn’t say we were famous. Harley: Yes you were! Kurt: Nah, but we put out like four singles and somebody put out a discography record. People liked it, but it was definitely short-lived. **Was there a musical or aesthetic direction that you wanted Fugitive Bubble to go in?** Kurt: No, there wasn’t really. Harley: We have too many influences and our interests are so vast. We both really like—you’re more ‘80s hardcore, but I’m more Kleenex/Raincoats. So we definitely kind of had to collide both of those \[influences\], but then we both really like all kinds of other shit. Kurt: I like to add a lot of peace punk. Harley: Yeah, we like Crass. Like any Crass record. Kurt: We didn’t say we wanted it to be a certain style. We just played. Harley: Whereas Mary is a D-beat person and a crust person and had never even listened to Kleenex or the Raincoats before entering the band. They had listened to ‘80s hardcore, but is more on the metal, D-beat side of things. But now, they listen to more stuff. **That’s cool. I like that you are referencing Kleenex and the Raincoats, because they’re two of my favorite bands of all-time. Especially Kleenex.** [**Kleenex is probably Top 10 all-time for me.**](https://www.kexp.org/podcasts/cobain50/2024/4/3/anything-by-kleenex-1978-1983/?ref=see-saw.fun) Harley: But we want to be faster and more hardcore punk than that. **Yeah, and you definitely are. What are your feelings about *Delusion* and what do you think when you go back to revisit it?** Harley: I think about writing music with \[our previous drummer\] Perry because we were pretty serious \[about this band\]. We were writing and playing with him all the time. Kurt: I guess I don’t really think about it too much other than \[when\] I periodically listen to it, I’ll be like, “Is this still good?” And I’m like, “Yeah, it’s good. It rips.” I was listening to it today. I play in other bands too, and I’ll be fucking just trying to write way too much shit. So my whole thing is, once it’s out, I’d rather just check back to see if I still think it’s dope or whatever. I’m two records ahead. Harley: Kurt could sit and write 10 songs a day if you didn’t have a job or anything. It’s like, you’re fast. You’re really fast. Kurt: I like to write different styles, so I have different projects. **The new album,** [***What Will Happen If We Stop?***](https://sorrystaterecords.bandcamp.com/album/what-will-happen-if-we-stop?ref=see-saw.fun) **has really been catching on. It's been really cool to see. I think one of the things about it is that it's immediately recognizable for its musical ambition. Was that a conscious thing or was it more, again, you getting in that mode?** Kurt: I mean, consciously we did want to make an exciting record, you know? Harley \[to Kurt\]: I feel like it’s you. Something that has happened over the years is that you always want to push further; more, more, more interesting, more intricate, more different, more unique, more. Kurt: And just simpler and making it have a variety of sounds, but have it still sound like us. Harley: I feel like I’ve been freaked out in the past. I’ve been like, “What if people don’t like it?” Because it’s too weird. But \[to Kurt\] you don’t give a shit ever. You don’t care. Kurt just doesn’t care what people think. I think that’s why it’s so special. I really do. Kurt: I also really like—you know Larry Heard? He’s a house guy. He has this one record where he has this monologue that starts it off. And it really hits strong with me, and I think it portrays a good point of view for songwriting and creativity. I obviously don’t have it verbatim, but it’s something to the effect of, “We always want to put out the best thing we could do, but it’s not always gonna work out that way. And we should be fine with that because we created it and then it’s something we can look back on and move on from that.” And that’s fun to do that. He also has a label called Guidance and it stands for Growing Under the Influence of Dance, and I think that’s the freshest shit on Earth. **Yeah, it’s a document in time. I feel the same way about writing and visual art. You’re capturing a moment. It’s like a time capsule.** Harley: Once it’s out, you birthed it, and it’s done. You can’t change it. I’m happy with it, though. It’s funny, because every time we write and release something, I personally can’t tell what it sounds like. I don’t even know what it sounds like until we go on tour and we’ve been playing it a lot. When we play a bunch of shows, I can feel like I can hear the songs, but I can’t even tell if it’s good. I just blindly trust that Kurt and Mary would tell me if it sucks. And then over time, maybe we don’t know. I just have to trust that it doesn’t suck. **I was going to ask you if you’ve reconciled your fear of your music being perceived as too weird.** Harley: Currently, it’s not weird at all. Kurt: Normal as hell! \[*laughs*\] Harley: I think over time—the repetition of it and how many times we’ve toured and how many times we’ve released shit now—I’m more calm about it. I’m not as anxious about it. Because it has gone well. I don’t want to sound like a hater, but so much of the shit that comes out is fucking boring. **This is a safe space for haters. A lot of the shit that comes out right now is fucking dull.** Harley: It’s fucking boring! And no one’s saying anything! No one is saying anything that they mean, you know? And now is the time to say shit that you actually fucking care about. Kurt: At the very least, I feel like \[people should\] show— Harley: Vulnerability Kurt: An ambitious attempt at writing some music. Harley: Try. \[*laughs*\] **Harley, you mentioned bands not saying what they mean, and one of the things I love most about this record is your lyrics, how you both are saying what you mean. And I was wondering if the fuckery of the past few years inspired that, or is it more of, “Hey, I need to get this off my chest.”** Harley: I mean, yeah, politically, everything is fucked up. But I think good music should be vulnerable, and you should push yourself to be real and say what you are actually afraid to say. And then it will probably be good music if you do that. Because if you’re making music that’s basic and fucking repeating an aesthetic, you’re probably not gonna say what you need to say. And, I don’t know, if you have a fucking platform, I think it’s fucked up not to use it to say some shit. **Yeah, my therapist always tells me the scary thing is the worthwhile thing.** Harley: Exactly. I feel like if I’m too scared to write something in a song, that’s what I probably should fucking write about then. Sometimes we write lyrics together, we did that last week. We got together and it was just fun. We usually have an argument, but then through the argument we’re passionately arguing, and we come to a really good thing. Kurt: When I write lyrics—I’ve been into punk since I was 15 and what I wrote about then and what I was angry about then hasn’t changed really. When I was a kid, I would write straightforwardly and I would use political vocabulary and stuff like that. And I feel like now—I like Minutemen, I always have, but I am deeply inspired by how D. Boon writes lyrics. And I feel like it’s prose, but \[with\] social, political, and class issues and stuff like that. And thinking \[about those\] things, but speaking them more artistically. **It’s funny that you mentioned Minutemen, because the one lyric I can’t get out of my head is from “Paranoid Chant”: “I try to talk to girls and I keep thinking of WWIII.”That’s the sign of the times right now.** Kurt: And that’s funny and cool, but it provokes thought too. And you’re just like, “That’s smart.” ![Fugitive Bubble, image courtesy the band](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/08/fugitive-bubble-header-courtesy-of-the-band-1.jpg) Fugitive Bubble, image courtesy the band **A lyric of yours I really love is, “How can you say you’re sane in this fucked up world?”** Harley: Kurt wrote that song, actually. I was having trouble coming up with lyrics, but the song \[had\] almost like Crass-style sections, but with a lot of stopping and starting. And so I was thinking of political Crass lyrics, but I was also thinking about—I work as a therapist and I was thinking about how my job is to help people feel more sane, but I don’t really think sanity is possible. **Sometimes it feels like we’re living in the end times. And I think coaching people to feel sane in these times is almost toxic positivity.** Harley: I think people just thinking everything is OK is actually insane. If you’re living right now and you think everything’s OK, something’s wrong. I think Crass has like ten songs about this. **Aside from what the title track says, what does the title *What Will Happen If We Stop?* mean to you personally? I have a lot of thoughts and feelings about this myself.** Harley: The song, *What Will Happen if We Stop?* is, “What will happen if we stop working?” “What will happen if we stop believing in the people in power?” “What would happen if we stop believing in the narratives that we're told?” “What would happen if we stopped going along with the shit that we’re fucking fed?” Like, “What if everyone just stopped fucking going along with it?” What would that look like? I want to dream about that. Come on guys. Like, come on. I just feel like I wanna get everybody to like to dream about that together. Kurt: Yeah, that sums it up. What would happen if we stop believing in ourselves, too? **My thought when I first saw the title was, “What would happen if we stop persevering? What would happen if we stopped trying to make the world a better place?” Which is the flipside of what you’re saying, I guess.** Kurt: I had my own interpretation of it and obviously I think all that stuff, but also I think, basically you just have to. t’s good for everybody to keep moving along in a direction that you feel is positive. For a community of people, not just for yourself. Harley: In the song, I think the lyric is, “Authority, what would happen if we stopped needing you? Authority, what would happen if we stopped believing in you?” So it's kind of like, we just believe that we are being controlled. But what if we stop believing that we're being controlled and we just actually realized that we could stop? --- *see/saw is a reader-supported publication, so please consider a* [*subscription*](https://see-saw.fun/julie-klausner-on-punks-sampling-john-waters-misheard-dead-kennedys-lyrics/#/portal/) *to support this independent punk journalism operation!* ### the panel shirt is the best punk shirt of 2025 URL: https://see-saw.fun/the-panel-shirt-is-the-best-punk-shirt-of-2025/ Last updated: 2025-08-18T14:09:06.000Z The Minneapolis band [Panel](https://panelpanelbobanel.bandcamp.com/album/a-great-time-to-be-an-empath?ref=see-saw.fun) released their debut album [*A Great Time to Be an Empath*](https://panelpanelbobanel.bandcamp.com/album/a-great-time-to-be-an-empath?ref=see-saw.fun) earlier this year, and a couple months before it landed, I got the Panel shirt with the muskie on it when they played the big see/saw party. According to the [website](https://anxiousandangry.com/collections/panel/products/panel-tee-shirt-preorder?variant=43229075537990&ref=see-saw.fun), the version I have is printed on the Fern Color Blast variant by Comfort Colors. This is the best punk shirt of 2025. This bad boy is in hot competition as a lounge shirt for my entire family. It’s comfortable as hell and I wear it out of the house the minute it’s clean again. When Baby Tyler Band came into Eau Claire to play Leona’s, Heather the Jerk and I were both wearing the Panel shirt. (Hers is white.) It’s a perfect “father of a toddler” shirt, a perfect “code switching at Kwik Trip or Menards” shirt, and it’s the perfect shirt to wear inside the 143-foot-long world's largest muskie sculpture at the [Fresh Water Fishing Hall of Fame & Museum](https://www.freshwater-fishing.org/?ref=see-saw.fun) in Hayward, Wisconsin. ![In front of the world’s largest muskie sculpture, inside the world’s largest muskie sculpture, and inside the world’s largest muskie sculpture from a distance](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/08/MixCollage-18-Aug-2025-09-00-AM-5809.jpg) In front of the world’s largest muskie sculpture, inside the world’s largest muskie sculpture, and inside the world’s largest muskie sculpture from a distance I have fished, but I wouldn’t call myself a fisherman. I respect the game, but don’t indulge. What I love about this shirt, beyond its comfort and colors and very cool design, is how well it represents Panel. *A Great Time to Be an Empath* oozes Annie Sparrows’ lived experience, and so does this shirt. It’s a replica of shirts made by her dad and worn by her family. “In the very early ’80s, my dad was making a lot of fish prints,” Annie told me via text. “He would go fishing, paint the fish, and press them on to paper/cloth/etc. He made a series of shirts with a northern/muskie that said ‘Norsky’ on them, and hand cut a stencil to screen over the fish print. I still have the one he gave my aunt Renee (on the cover of the record with me), and I asked my friend Poohki (who did the layout for the album art as well) to digitize the design, and make it into a Panel shirt for me.” I wore the Panel shirt into a museum full of antique fishing equipment and hundreds of photos of smiling and accomplished fishermen. Some of those photos have gradually eroded over time to become psychedelic and difficult to parse. I thought about how the Panel album radiates loss and the bottom falling out from under you. I thought about the transient nature of these fisher folks’ happy memories. ![Jim Sprengelmeyer holds a 10 lb, 36-inch muskie, obscured by a red and purple splotch likely due to water damage as seen in the Fresh Water Fishing Hall of Fame & Museum](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/08/IMG_5242--1-.jpg) Jim Sprengelmeyer holds a 10 lb, 36-inch muskie, obscured by a red and purple splotch likely due to water damage as seen in the Fresh Water Fishing Hall of Fame & Museum And of course I thought about fish turning up dead on shores en masse. I thought about how our Great Lakes and waterways are under attack from corporate interests trying to build dangerous and intrusive pipelines. I thought about everybody I know who’s scouted the best fishing spots around where I live and woken up wildly early to make a memory, maybe even one enshrined in a small glossy photograph or a big gaudy plaque. In one person’s family, this kind of shit is the biggest deal. It’s a perfect shirt. --- *This is an out-of-office blog from the independent punk and rock'n'roll newsletter see/saw. No new podcast this week as Nina and I are both on vacation. We’ll return to our regular programming later this week. Please* [*subscribe*](https://see-saw.fun/#/portal/)*!* ### punk this week: abi ooze, fuck money, pile, retail simps + 15 more URL: https://see-saw.fun/punk-this-week-abi-ooze-fuck-money-pile-retail-simps-15-more/ Last updated: 2025-08-15T20:59:29.000Z Hello, hello, it’s [Punk This Week](https://see-saw.fun/tag/punk-this-week/), see/saw’s weekly punk and rock'n'roll recommendations column. What a damn week, with new music from Abi Ooze, Fuck Money, Pile, Retail Simps, Wiccans, plus a full-on Gentleman Jesse compilation and a bunch of stellar new power pop bands. You want to get your ears on the best new punk records out there? To access Punk This Week this time and every time, you’ve [got to sign up](https://see-saw.fun/punk-this-week-sick-thoughts-osees-yuasa-exide-harry-sings-15-more/#/portal/) for $4/month or $40/year or barter. There’s a two-week free trial if you want to try it out and dip. In addition to the column, there are [bonus podcasts](https://see-saw.fun/tag/podcast/) and a [full radio archive](https://see-saw.fun/see-saw-radio/) for the paid subscribers. That said, most of the stuff you get on this website is free. Since this thing is fully independent and has no backing investors or anything, [subscribing to see/saw](https://see-saw.fun/punk-this-week-sick-thoughts-osees-yuasa-exide-harry-sings-15-more/#/portal/)—free or paid—is a massive help. --- **Abi Ooze and Her Oozers:** [***Live at Lemp***](https://abiooze.bandcamp.com/album/live-at-lemp?ref=see-saw.fun) **\[self-released\]** Arguably the best power pop songwriter out is heading for the West Coast as we speak, and on their way, Abi Ooze will be selling this full band EP with five extremely good new songs. They recorded these before their tour with Judy and the Jerks earlier this year and it closes out with a fantastic recording of “Tall King,” a song that appeared on the first [see/saw benefit comp](https://see-sawdotfun.bandcamp.com/album/battle-for-l-a-a-see-saw-benefit?ref=see-saw.fun). I loved it then, and it sounds even better in its fully realized form. Every track on this tape is a knockout, and it opens extremely strong. “Appall Lodge Eyes” is a perfect pop song about trying to make amends to no avail. “When will I learn that I’m not the one that gets to share a life/I’m the one that gets left behind,” Jade sings. “I’m the one that has to apologize.” Some of the most prominent songwriters about heartbreak face this toxic parasocial thing from their stans: They go through a public split from their romantic partner and the response is “oh shit, the next album’s gonna cook.” I don’t want Abi Ooze to be stuck in a perpetual state of heartbreak, but meanwhile, these breakup songs are such a fucking feast. This absolute natural at writing catchy-as-shit earworms is backed up by an incredible band and multi-tracking their own girl group harmonies. A stunning tape. Get it and go see this band. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/08/a2531425760_10.jpg)](https://abiooze.bandcamp.com/album/live-at-lemp?ref=see-saw.fun) _This post is for paying subscribers only._ ### punk this week podcast 46: mr. [redacted] + gnomocop URL: https://see-saw.fun/punk-this-week-podcast-46-mr-redacted-gnomocop/ Last updated: 2025-08-12T21:04:26.000Z ![audio-thumbnail](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/media/2025/08/punk-this-week46_mixdown_thumb.png) punk this week 46: mr. \[redacted\] + gnomocop 0:00 /3894.044417 1× [Punk This Week](https://see-saw.fun/tag/podcast/) *is see/saw’s free weekly podcast from co-hosts Evan Minsker and Nina Corcoran—a discussion of the latest and greatest in the world of punk rock. We talk about six new punk records we’re loving from the past week.* Did we expect to watch the entire trailer for the Anthony Michael Hall-starring fantasy adventure flop [*A Gnome Named Gnorm*](https://www.youtube.com/watch?v=Fr0mb2NFk4c&ref=see-saw.fun) when we set out to record this episode? No, but when you’re covering the new one from Gnomocop, you legally have to do the research. The episode also features new records from [Mr. \[Redacted\]](https://ragdollrecords.bandcamp.com/album/transmission-2?ref=see-saw.fun), [Mar De Árboles](https://mardearboles.bandcamp.com/album/ausencia?ref=see-saw.fun), [Sick Thoughts](https://sick-thoughts.bandcamp.com/album/another-piece-of-plastic?ref=see-saw.fun), [Ways of Hiding](https://waysofhiding.bandcamp.com/album/ways-of-hiding?ref=see-saw.fun), and [Harry Sings](https://harrysings.bandcamp.com/album/christies-toy-box?ref=see-saw.fun). Also discussed: squirrel snacks, Nina’s [Osees review](https://pitchfork.com/reviews/albums/osees-abomination-revealed-at-last/?ref=see-saw.fun), Nina giving Media Puzzle an official [song of the summer](https://pitchfork.com/features/lists-and-guides/2025-song-of-the-summer/?ref=see-saw.fun) look, hoof punk, and goth bullies on the beach. ![A squirrel confiscating a King Size snack sleeve of Golden Oreos in Chicago](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/08/MixCollage-12-Aug-2025-03-52-PM-3829.jpg) Massive day for a Chicago squirrel, photo by Nina Corcoran --- Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.fun). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/see%5Fsaw.fun/?ref=see-saw.fun) and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). Have a question you’d like to hear addressed on the show? Want to talk about a new record we didn’t discuss? Want to send a HARD PIVOT or NO AMERICANS bumper? Join us on the see/saw [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun) or email us: [see-saw@see-saw.fun](mailto:see-saw@see-saw.fun). *Punk This Week* is made possible by see/saw subscribers; please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-45-the-new-eves-the-unknowns/#/portal/) if you enjoy this podcast. You’ll learn about way more punk records than we can pack into the podcast! ### julie klausner on punks sampling john waters + misheard dead kennedys lyrics URL: https://see-saw.fun/julie-klausner-on-punks-sampling-john-waters-misheard-dead-kennedys-lyrics/ Last updated: 2025-08-11T20:50:13.000Z [*Record Exchange*](https://see-saw.fun/tag/record-exchange/) *is a series of conversations between see/saw and a fellow punk enthusiast. Each person brings two songs to discuss. The latest installment is a chat with Julie Klausner, the comedian whose podcasts* [How Was Your Week?](https://www.patreon.com/cw/HowWasYourWeek?ref=see-saw.fun) *and* [Double Threat](https://linktr.ee/doublethreat?ref=see-saw.fun) *are essential listening.* The Julie Klausner stans are eating. *How Was Your Week*, one of the best comedy podcasts in history, relaunched a few months ago after a long dormancy. *Double Threat*, her podcast with Tom Scharpling, remains an absolute treasure of pop cultural rabbit holes where two of the funniest people alive make each other cackle. Julie analyzing the lyrics of “I Speak Fluent Jazz” from the Broadway musical *Boop*? Julie scream-laughing at [Mickey Rooney’s distressed reaction](https://www.tiktok.com/@doublethreatpod/video/7493267953161440554?ref=see-saw.fun) to a restaurant’s dessert options? It’s a ceaseless stream of comedic treasures. She created and starred in *Difficult People*, a perfect show with too many iconic moments to briefly summarize. Take the classic season three episode where the Monkees’ Micky Dolenz appears as a deeply selfish version of himself. This man gives a tour de force performance as a scheming con artist and eventually snarls the line “I’m Micky fuckin’ Dolenz.” “There was a conversation like, ‘Does it have to be Micky Dolenz or can it be another celebrity?’ And I made the rare, put my foot down kind of thing where I said, ‘If it’s not Micky Dolenz, I’m throwing this story away and I’ll come up with something else.’ It just had to be him. There was just nothing in my mind that was funny about it unless it was him.” The Monkees catalog is part of a larger tapestry of Julie’s formative pop culture obsessions, like Frank Zappa’s records, Adam West’s *Batman*, or the Bernadette Peters episode of *The Muppet Show*. “I watched the Christopher Reeve sketch recently with him and Miss Piggy and I was oddly horny, which is probably more information than you wanted, but Christopher Reeve was so sexy,” Julie said, cackling. “He was so hot! Oh my god. There’s definitely a lot of sexual tension. Kermit has that Conan-y quality like ‘I’m totally repressed’ and then Miss Piggy’s this Dionysian hag. I loved it. I couldn’t get enough.” Despite playing one of the most deeply selfish characters in the history of television on *Difficult People*, Julie’s oeuvre is one of deep selflessness. I’ve been introduced to some of the funniest and most fascinating human beings on the planet through Julie’s work. My introduction to Cole Escola was through their unhinged breakout performance on *Difficult People*. I became a [Roz Hernandez](https://www.instagram.com/rozhernandez/?ref=see-saw.fun) fan via both podcasts, and I click every time there’s a new episode of Julie and Shannon DeVito’s junk food reviews podcast [*RFK Jr. Presents Sweet Treats*](https://www.patreon.com/collection/1577567?view=expanded&ref=see-saw.fun). In late 2024, Julie revealed a playlist of her 50 favorite songs of all time on *How Was Your Week*. “The Fabulous 50” included punk and new wave classics alongside world-beating pop hits and Broadway standards. Julie sat down, her Divine wallpaper mural looming over her shoulder, to share two favorite punk songs. We discussed boosting lesser-known voices, the eminently sample-worthy Mink Stole, and Jello Biafra’s mayoral campaign slogan. --- **Julie’s pick: Dead Kennedys’ “**[**Holiday in Cambodia**](https://www.youtube.com/watch?v=4TljnADEbzI&ref=see-saw.fun)**”** I went to a Jello Biafra spoken word show in college, and it was long. He went on for a long time. I remember being like, “Wow, he’s got a lot to say.” Spoken word was very hot in the ’90s. The Dead Kennedys songs I like are “California Über Alles,” *obviously* “Too Drunk to Fuck,” and “Nazi Punks Fuck Off,” which is oh so relevant and perennial. The other thing I know about Jello was that he put out those incredibly strange music compilations together for research. I had both of those. It’s so poppy, right? This is a pop song. It has that structure of verse, bridge, chorus, everybody comes on the chorus, a really strong bass line. With different production, it could’ve been a huge, huge song for a popular recording artist. By the way, I’m looking at Jello’s wiki and it looks like he ran for mayor under the catchphrase “there’s always room for Jello.” We’ve gotta give it up for this man, that’s really funny. Can you imagine “there’s always room for Eric Adams?” I’d consider voting for…no. No. I wouldn’t. “Where’s the Beef” would be amazing, too. I might change my name to Julie Beef just to run on that, and plus I might get more work in other ways! When I was in high school, we couldn’t go on Genius.com and be like “oh, when the Beastie Boys were throwing eggs around L.A. with the Dust Brothers, that’s what this lyric is about in ‘Eggman!’” Anyway, so obviously because it’s “Holiday in Cambodia” he’s saying “Pol Pot,” who was the leader of the Khmer Rouge and dictator of Cambodia. I thought he was singing “cold, hot!” \[*laughs*\] They could’ve licensed it for a [McDLT commercial](https://www.youtube.com/watch?v=nieB0VoRbVU&t=1s&ref=see-saw.fun). Isn’t that embarrassing? “Cold hot cold hot cold hot cold hot!” Like they’re playing a game of “how close am I? Colder? Colder?” I am so embarrassed. I feel very vulnerable right now. There’s something on this Wikipedia I also want to mention: After Barack Obama won the general election, Biafra wrote an open letter making suggestions on how to run his term as president, and he criticized him and dubbed him “Barackster O’Bummer.” That’s really funny. --- **see/saw’s pick: Egg Girl Girl’s “**[**Rich Inner World**](https://egggirlgirl.bandcamp.com/track/rich-inner-world?ref=see-saw.fun)**”** [ROOMERS by Egg Girl Girl](https://egggirlgirl.bandcamp.com/album/roomers?ref=see-saw.fun) That’s great. It kind of reminds me of God Is My Co-Pilot, a little. ***I love a song that’s held together by threads.*** Completely, scotch tape and spit. [![Egg Girl Girl’s Roomers artwork](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/08/a2567907205_10.jpg)](https://egggirlgirl.bandcamp.com/track/rich-inner-world?ref=see-saw.fun) ***One thing I’ve always loved about your work, both in TV and on the podcasts, is that there’s a dedicated effort to amplify the voices of lesser known and often queer artists in the comedy and acting space.*** Thank you, I just like shining light on the overly shaded talents that don’t get as much attention. I remember once I was writing for a show in L.A. and they were talking about who we should cast in this role, and I was like, “she’s in everything.” And they were like, “Well, doesn’t that mean she’s really hot?” And I was like, “I guess, there’s also a world in which you give it to someone who’s really great and would be really grateful and maybe introduce that person to more faces.” I don’t know, that’s just my go-to because I’m always bummed whenever there’s a bandwagon. Like look, I’m thrilled that people know who Parker Posey is and that everyone’s really excited about her, but it’s just kind of strange, like where have you been? Like, good morning! Obviously she’s really great. I can’t remember a time when she wasn’t. But yeah, I definitely do try to amplify the voices of the disenfranchised or the otherwise ignored. I think that’s just kind of written into my DNA, like if they’re an underdog, I’m way, way more likely to like them. --- **Julie’s pick: The Stooges’ “**[**I Wanna Be Your Dog**](https://www.youtube.com/watch?v=3gsWt7ey6bo&ref=see-saw.fun)**”** Wait, is this the same melody as “Holiday in Cambodia?” I was like, “I’ll bring a *variety* of songs to talk about!” Great job, Julie. I remember hearing this in *Cruella*. There were two songs they were waiting for in this movie. It starts with “Bloody Well Right” by Supertramp,” but they have a lot of restraint considering where they’re headed that they actually hold off on “I Wanna Be Your Dog” and “Sympathy for the Devil.” ***You’ve talked about dogs a ton on the podcasts. Shout out to cat people who love dogs.*** Yeah, it’s like a bisexual with a boyfriend. What are you gonna do? I guess this song is a little doggy. Iggy Pop is definitely more of a dog than a cat. David Bowie is more of a cat than a dog. But I just remember “this is such a delicious, catchy bass line.” I think it’s a sexy, funny song on a perfect album. ***When Jimmy Jazz goes to lay right down in his favorite place, where is that?*** Anywhere where there’s a sunny spot. He’s solar powered. He’s a baked potato. He’s very different from his mom in that way. ![Jimmy Jazz, a tuxedo cat, at rest](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/08/unnamed.jpg) Jimmy Jazz, photo by Julie Klausner --- **see/saw’s pick: Coffee Stain’s “**[**Star Gate**](https://11pmrecords.bandcamp.com/track/star-gate?ref=see-saw.fun)**”** [Good Bad Taste by Coffee Stain](https://11pmrecords.bandcamp.com/album/good-bad-taste?ref=see-saw.fun) Oh yeah, that sample is Mink Stole in *Female Trouble*. She plays Divine’s daughter. Anything Mink Stole says in any movie could be used as a sample in any punk song. I really think she’s the strongest utility actor of anyone from his ensemble. She’s the MVP, to borrow a sports metaphor, which I know John Waters would hate. ***When you think about John Waters’ catalog, can you quickly say “this one’s my favorite” or do you have to parse it out into different eras?*** Yes, definitely, absolutely, with *Polyester* being a bridge. *Hairspray* is a completely different kind of movie than his earlier films, and I love that about him because whenever someone asks me what my favorite is, it’s like the Beatles, you kind of have to be like “*Rubber Soul* and the White Album.” You have to balance them out. I couldn’t ever choose between *Female Trouble* and *Cry-Baby* just like I could never choose between *Hairspray* and *Pink Flamingos*. You have to have both of them. I know that John Waters doesn’t like the Beatles, but to me it’s the closest parallel \[*laughs*\]. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/08/a2436942493_10.jpg)](https://11pmrecords.bandcamp.com/track/star-gate?ref=see-saw.fun) --- *see/saw is a reader-supported publication, so please consider a* [*subscription*](https://see-saw.fun/billie-starkz-blames-her-mom-for-getting-her-into-punk/#/portal/) *to support this independent punk journalism operation!* ### punk this week: sick thoughts, osees, yuasa-exide, harry sings! + 15 more URL: https://see-saw.fun/punk-this-week-sick-thoughts-osees-yuasa-exide-harry-sings-15-more/ Last updated: 2025-08-08T20:30:08.000Z Hey, it’s Punk This Week, see/saw’s Friday column collecting the best punk and rock'n'roll records to grace speakers all over the planet. There are two exceptional records from Minneapolis punk rockers’ solo projects, new ones from the powerhouses Drew Owen and John Dwyer, some absolutely stellar records from Germany, and a new band from Athens, Georgia that I can’t get enough of. There’s seriously some incredible new records that you absolutely must check out. To access Punk This Week this time and every time, you’ve [got to sign up](https://see-saw.fun/punk-this-week-lulu-lifeguard-idle-ray-tommy-20-more/#/portal/) for $4/month or $40/year. There’s a two-week free trial if you want to try it out. That said, most of the stuff you get on this website is free. I try to keep the cost low, and honestly, I throw the majority of the money back to the punk community—to artists, writers, labels, etc. Since this thing is fully independent and has no backing investors or anything, [subscribing to see/saw](https://see-saw.fun/punk-this-week-lulu-lifeguard-idle-ray-tommy-20-more/#/portal/)—free or paid—is a massive help. --- **Sick Thoughts:** [***Another Piece of Plastic***](https://sick-thoughts.bandcamp.com/album/another-piece-of-plastic?ref=see-saw.fun) **\[Rokk\]** Drew Owen, the formerly troubled Baltimore teen and now troubled New Orleans adult behind Sick Thoughts, keeps himself plenty busy. In the middle of a run with Total Hell last year, he put out a DD DETH loosie and was apparently working on this new one. It feels like the guiding aesthetic of this record is just “electric guitar.” On “Me and My Guitar,” a tribute to the immortal nature of putting out a rock’n’roll record, he multi-tracks these Thin Lizzy-style doubled up guitar solos. The title track finds that balance where the acoustic guitar is a more muted rhythm section and leads to a big electric payoff. *Another Piece of Plastic* is just five songs, but it’s some of the most range he’s shown as a songwriter on a Sick Thoughts record (which is saying something, *Heaven Is No Fun* was a new creative leap at the time). That’s most evident on “The Doom,” where he lets the guitar do all the heavy lifting when it comes to packing the punch, but his vocals are genuinely cooing as the record winds to a close. The record makes a strong case for Drew’s continued embrace of sweet’n’sour songwriting. When you’ve built your legacy on screaming relentlessly and revving the chainsaw, a record like this feels inspired, and I definitely hope there’s more where this came from. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/08/a0214993968_10.jpg)](https://sick-thoughts.bandcamp.com/album/another-piece-of-plastic?ref=see-saw.fun) _This post is for paying subscribers only._ ### punk this week podcast 45: the new eves + the unknowns URL: https://see-saw.fun/punk-this-week-podcast-45-the-new-eves-the-unknowns/ Last updated: 2025-08-05T15:47:31.000Z ![audio-thumbnail](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/media/2025/08/punk-this-week45_mixdown_thumb.jpg) punk this week 45: the new eves + the unknowns 0:00 /3431.009729 1× [Punk This Week](https://see-saw.fun/tag/podcast/) *is see/saw’s free weekly podcast from co-hosts Evan Minsker and Nina Corcoran—a discussion of the latest and greatest in the world of punk rock. We talk about six new punk records we’re loving from the past week.* Nina recovers from a weekend at Lollapalooza, where she gazed starstruck at Jonathan Davis’ custom H.R. Giger mic stand while chompin’ corn chips in the Korn pit. Evan mourns the waterfront Burger King—the most romantic spot in town. We also discuss a pile of great new records by [the New Eves](https://theneweves.bandcamp.com/album/the-new-eve-is-rising?ref=see-saw.fun), [the Unknowns](https://theunknowns4.bandcamp.com/album/looking-from-the-outside?ref=see-saw.fun), [Dark Thoughts](https://dark-thoughts.bandcamp.com/album/highway-to-the-end?ref=see-saw.fun), [Flowers for the Dead](https://distrokid.com/hyperfollow/flowersforthedead/first-place-2?utm%5Fcampaign=website&utm%5Fmedium=Email+&utm%5Fsource=SendGrid), [CLOBBER](https://clobberuk.bandcamp.com/album/god-loves-man-kills?ref=see-saw.fun), and [Emmett O’Connor](https://emmettoconnor.bandcamp.com/album/9-from-the-warped-mind?ref=see-saw.fun). --- Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.fun). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/see%5Fsaw.fun/?ref=see-saw.fun) and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). Have a question you’d like to hear addressed on the show? Want to talk about a new record we didn’t discuss? Want to send a HARD PIVOT or NO AMERICANS bumper? Join us on the see/saw [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun) or email us: [see-saw@see-saw.fun](mailto:see-saw@see-saw.fun). *Punk This Week* is made possible by see/saw subscribers; please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-44-golomb-guyscrapers/#/portal/) if you enjoy this podcast. You’ll learn about way more punk records than we can pack into the podcast! ### playlist: the best punk songs of july 2025 URL: https://see-saw.fun/playlist-the-best-punk-songs-of-july-2025/ Last updated: 2025-08-04T22:21:06.000Z I used to do these playlists every month—a collection of songs with a short blog about how it’s going—and then I got a day job. For some reason, playlists were the thing that started to fall through the cracks. Sorry about that. I did a make-good for the [first six months of the year](https://see-saw.fun/playlist-the-best-punk-songs-of-2025-so-far/), and now let’s pick up with July. As for how it’s going, I’ve been harvesting berries, basil, kale, cucumbers, and potatoes in the backyard. The wildflower seed mix we tossed around over bare soil during lockdown has finally exploded into color years later. I’m in full toddler father mode, impersonating animals and talking way too much about the toilet. I threw a couple deeply sick punk shows and have been spending time with the extended fam. This is the 200th post I’ve ever done. see/saw recently hit a milestone of 2,500+ overall subscribers and 500+ paid. That’s double where it was one year ago. As an art practice and niche music journalism/criticism endeavor, that’s pretty unreal and I’m incredibly humbled by the support. I’d still love for more people to keep finding it. Tell your friends about see/saw so I can keep [the podcast](https://see-saw.fun/tag/podcast/) going and can keep paying writers to do things like [interview Wesley and the Boys](https://see-saw.fun/wesley-and-the-boys-are-the-best-memphis-band-from-nashville/) at a Memphis recording studio. Here’s the stuff I loved this month (with some late June and early August additions because punk time). If you like it even a little bit, please [subscribe](https://see-saw.fun/#/portal/)! --- [**the best punk songs of july 2025**](https://www.buymusic.club/list/seesaw-see-sawfuns-best-punk-songs-of-july-2025?ref=see-saw.fun) Big Modern: Parasite Uhu: Tapi Boong Los Retumbes: Bomba de humo Muscle Cats: Purrrfect Wave Snooper: Worldwide R.M.F.C.: Ecstatic Strife TVO: Dumb Fucking World Sex Mex: Magic Words (M.O.T.O. cover) Dark Thoughts: Different World Sick Thoughts: Another Piece of Plastic Dog Lips: Gush Useless Eaters: Ego Shell Eddy Current Suppression Ring: Despite It All The New Eves: Highway Man Public House: Read the Meter Guyscrapers: Ba Ba Ba Answering Machines: I’ll Know Who’s There Faulty Cognitions: Arsonist dona casque: 1.2.2. The Dissidents: Endless War boo/hiss: Hey! 2! The Unknowns: All Grown Up DÄÄCHT: Candle Fen Fen: Motorcycle Upchuck: Plastic Scud: I ❤️ Dirt The Cars That Ate Paris: Girls on Telephones BIG&HEAVY: Lie Kombynat Robotron: Finsternis U.I.S.: Primitive Decline Poky: Black Rider Ronny Spoiler: Mit dem Terhmomix durch den nuklearen Winter Shanty Sleaze: She Do Dead Drugs: I Wanna Get Weird The Educated Fools: Arrow Clear Yuasa-Exide: Acetylene The Wind-Ups: A Fine Pink Mist Outdoorsmen: When They Bury You Down Girl Fit: Birthday Suit Cluttered Grotto: Night Terrors Technopolice: Hellastic Mr. Pox Balloon Thief: Premium Kills Annual Report: Shots in the Shower Havana Syndrome: Dirt Machine Jug & the Bugs: Wrist Watch Visual Learner: Cure-All Bee Bee Sea: It’s All About the Music Dick Move: Fuck It Cruelster: Simple Eyes Snarewaves: Dive Bar Apéro: Tribute to Dwayne the Rock Johnson Power Pants: Laundromat Love PB: Trapped Sneer: Psychic Psychosis AYUCABA: COCAINA Claimed Choice: Bootboy (Don’t Stop) Jumbo XL: Who to Hurt Class Act: Monkey Business Supreme Joy: Dead Mice Street Eaters: Cuts Wealth Gap: She’s the One Ignorantes: Adiós Camarada Acid Smoothie: Shandarita Neon Kittens: Are You on Glue? Special Delivery: Treading Water Knowso: Sin of Property The Plane Crash: Sidewalk Cemetery BODEGA: Rot in Helvetica Metho: Lonely Time Dümmel: Nothing There’s Motionless Shagg Carpet: Beach Body D.R.L.N.: A to B Lash: Second Time Lovebomb: Out for Love JJ Sizza: Wandering Eyes Otioxi: Human Supreme T.L.B.M.: im smoking fucking weed Grocery Bag: Lies Era Bleak: Spliff Bunker La Llama: The Blade of the Knife Tunnel Vision: Clap Back Besta Quadrada: Running Who Pays: Sectarian Violence FRENZY: Arian Blood on my Boots Illiterates: Hig Champion BRUT: Blood of My Own Chinese Junk: Shut Up About the USA Total Vacation: Modern Ruse KNEE: Hellbound Tokarev: nameless Spirit Level: Memory Burn BLAMAGE: Rohrkrepierer LAVA: Fuck Off Self Interest: Claim 2 Be NÃO: Glória Sympos: Welcome to Ballybricken Top Dollar: Constant Desire High Risk: Genocide in My Eyes Intro: No Time for You Cutup: Army Toys Ruined Virtue: Long Pig Mantis: Tristes Pendulos RUBBER: Grasping Noose PUKE: Justice For Us KLEENER: Sira Ulo GUMMO: Todo el dolor será pasajero Moleskine: No More Guests Worst Worry: Moving Backwards Star Sign: Blood Sugar Big Trouble: Gas, grass, or class war Emmett O’Connor: Burger King From My Dreams ### punk this week: dark thoughts, knowso, snooper + 17 more URL: https://see-saw.fun/punk-this-week-dark-thoughts-knowso-snooper-17-more/ Last updated: 2025-08-01T21:28:10.000Z It’s [Punk This Week](https://see-saw.fun/tag/punk-this-week/)—see/saw’s weekly punk and rock'n'roll recommendations column—during a Bandcamp Friday. I wrote way too many blurbs because there are way too many good punk records out today. We got the return of Dark Thoughts, two exceptional new records from Sorry State, a stellar lead single from Snooper, a revolution-citing jangle pop benefit comp, plus barn burners from the UK, Australia, Indonesia, Chile, Japan, and Cleveland. This weekly column, usually around 2,000 words about brand new punk music, is available to anyone who pays or barters across the [see/saw subscriber paywall](https://see-saw.fun/#/portal/). It’s $4/month or $40/year; there’s a two-week free trial. Subscribers get over 40 hours of punk rock radio in the see/saw radio archive and bonus podcasts, including a brand new one that went up yesterday. Free subscribers get weekly free stuff, too. [Subscribe to see/saw](https://see-saw.fun/#/portal/), free or paid, to support this deeply independent love letter to punk and rock’n’roll records. --- **Dark Thoughts:** [***Highway to the End***](https://dark-thoughts.bandcamp.com/album/highway-to-the-end?ref=see-saw.fun) **\[Stupid Bag/Drunken Sailor\]** The latest from Philadelphia’s Dark Thoughts does not reinvent the wheel, thank Christ. It’s power chord punk rock that sounds like 100 other songs you’ve heard, and somehow, none of them. The best part of *Highway to the End* is how these songs whip by, some at a minute or less, and bleed right into the next one. All but one song begins pretty much exactly the same way, and the other one is “Please Don’t Be Lonesome,” a spare ballad (eventually slathered in their tried-and-true distortion attack). They ease off just long enough for you to lean in—a springboard into the next moments of frenzy. Shit rules. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/08/a0250865153_10.jpg)](https://dark-thoughts.bandcamp.com/album/highway-to-the-end?ref=see-saw.fun) _This post is for paying subscribers only._ ### overlooked punk favorites of 2025 so far, a bonus podcast URL: https://see-saw.fun/overlooked-punk-favorites-of-2025-so-far-a-bonus-podcast/ Last updated: 2025-07-31T16:15:47.000Z ![audio-thumbnail](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/media/2025/07/ptw-overlooked25-promo_mixdown_thumb.png) \[trailer\] punk this week: overlooked favorites of 2025 so far 0:00 /119.115333 1× This entire year except for those two weeks off, *punk this week* hosts Nina Corcoran and Evan Minsker have podcasted about six new punk records each week. Some of those weeks, we walked away with that sinking feeling: *Shit, we missed one*. Sometimes the best emo record of the year slips by because there were too many good options that week. Maybe it took months for a demo to find its way to YouTube from basement show cassette treasure. Therefore, we have called to order a *punk this week* special titled “overlooked punk favorites of 2025 so far.” It’s the same format—we each pick three—but this time focused on six year-end contender records we didn’t cover so far this year. **This one’s for the** [**paid subscribers**](https://see-saw.fun/#/portal/). By subscribing to see/saw, you’ve been kind enough to support this podcast that’s honestly just an excuse for us to hang out during snack time and listen to loud music. Throw us a coin or [barter](https://see-saw.fun/bartering/) your way across the paywall. Paid subscribers also get the weekly column [Punk This Week](https://see-saw.fun/tag/punk-this-week/) and the [see/saw radio archive](https://see-saw.fun/see-saw-radio/). More importantly, they get the gratitude of two punk journalists from the Midwest. _This post is for paying subscribers only._ ### punk this week podcast 44: golomb + guyscrapers URL: https://see-saw.fun/punk-this-week-podcast-44-golomb-guyscrapers/ Last updated: 2025-07-29T17:40:52.000Z ![audio-thumbnail](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/media/2025/07/punk-this-week44_mixdown_thumb.jpg) punk this week 44: golomb + guyscrapers 0:00 /3221.11225 1× [Punk This Week](https://see-saw.fun/tag/podcast/) *is see/saw’s free weekly podcast from co-hosts Evan Minsker and Nina Corcoran—a discussion of the latest and greatest in the world of punk rock. We talk about six new punk records we’re loving from the past week.* This week, a perfect slice of homemade triple berry pie turns around an arduous moving day, we pay tribute to Ichiro Suzuki’s Baseball Hall of Fame induction and perfect rapport with his dog, and the term “Cocteau Twins cash” is officially coined. We brought the latest from [Golomb](https://golomb.bandcamp.com/album/the-beat-goes-on?ref=see-saw.fun), [Guyscrapers](https://giantbeat.bandcamp.com/album/why-scrapers?ref=see-saw.fun), [G.I. Bill](https://gibill.bandcamp.com/album/better-places?ref=see-saw.fun), [Lash](https://gobnation.bandcamp.com/album/off-the-leash-demos?ref=see-saw.fun), [Light Beams](https://lightbeams.bandcamp.com/album/emulate?ref=see-saw.fun), and [Los Retumbes](https://losretumbes.bandcamp.com/album/violentos-torpedos-de-realidad?ref=see-saw.fun). ![it's a good looking slice of triple berry pie made from scratch](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/07/IMG_5102-copy.jpg) triple berry pie by Morgan Barrie --- Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.fun). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/see%5Fsaw.fun/?ref=see-saw.fun) and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). Have a question you’d like to hear addressed on the show? Want to talk about a new record we didn’t discuss? Want to send a HARD PIVOT or NO AMERICANS bumper? Join us on the see/saw [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun) or email us: [see-saw@see-saw.fun](mailto:see-saw@see-saw.fun). *Punk This Week* is made possible by see/saw subscribers; please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-43-panic-shack-scud/#/portal/) if you enjoy this podcast. You’ll learn about way more punk records than we can pack into the podcast! ### the sabbath to punk pipeline: 7 reflections on ozzy’s influence URL: https://see-saw.fun/the-sabbath-to-punk-pipeline-6-reflections-on-ozzys-influence/ Last updated: 2025-07-28T20:21:13.000Z Ozzy Osbourne died a Zionist, and that’s a serious bummer. He was in poor health for so long we’d banked the Pitchfork obituary several years ago. At the end of his life, he signed [some bullshit letter](https://www.creativecommunityforpeace.com/blog/2025/03/05/bbc/?ref=see-saw.fun) hand in hand with his Zionist manager-slash-wife Sharon Osbourne. He was eulogized by *The Jerusalem Post* for his “profound connection to Israel” and *The Times of Israel* as someone who “stood against anti-Israel bias and antisemitism.” The voice who wailed “War Pigs,” rightly lionized as the Godfather of Heavy Metal, stood in solidarity with the absolute wrong side of history. This story’s played out too many times: rock icon get older, their opinions veer conservative. Ringo backed Brexit, John Lydon embraced Queen Elizabeth, and Morrissey became contemporary Morrissey. Even when people made music that changed your life, nothing excuses that kind of stain on a legacy. Free Palestine, fuck Netanyahu. It’s a dollop of shit atop a crucial body of work. Ozzy was a Beatlemaniac who leaned into his heroes’ darkest instincts. With Black Sabbath, Randy Rhoads, and countless other collaborators, Ozzy created monolithic heavy music across decades. He terrified suburban parents and instigated a Satanic panic with a truly reckless partying legacy. There’s nothing more potent than a combination of wildly fun music, livewire performances, and the disapproval of adults. That’s why it was completely unsurprising to see a flood of tributes from punks from around the world on Instagram stories. The metal world owes a serious debt to Ozzy and Black Sabbath. (Duh.) But in over a decade of music journalism and bullshitting with artists, Sabbath’s impact on contemporary punk bands has been as palpable as it is under-discussed. There’s a gimmick interview I did with [Ty Segall in 2013](https://pitchfork.com/features/situation-critical/9193-ty-segall/?ref=see-saw.fun), one of those “how would you soundtrack these moments of your life” type things. In the published version, he mentioned Black Sabbath twice, but in my memory, he soundtracked at least four scenarios with Sabbath and some of them ended up on the cutting room floor. Last year, when I interviewed 208 at Outer Limits Lounge in Hamtramck, I talked to them about how darkness and trauma was imbued in their music, which I’d been describing up to that point as “fun.” I wondered if that bothered them. “No, not necessarily, because in the end, the goal of the music from the start was to inspire people to express their own stuff,” Kyle Edmonds said at the time. “Hopefully my extreme trauma and the darkness in the music affects people like how Black Sabbath or something affected me.” When Ozzy died, this was the version of the man I saw being mourned on social media (albeit with a heavy asterisk—see the first two paragraphs of this piece). Ozzy, with Sabbath and as a solo artist, changed the lives of countless little sickos who would go on to make crucial punk music. I asked some punks for a few words about what his music meant to them. *(These contributions have all been edited for style.)* --- I know it sounds cliché but I wouldn't be who I am today if I had never encountered Ozzy's music. I was maybe 13 when I got his greatest hits CD (when CDs were still a thing) and I probably replayed it over a 100 times. I versed myself in Ozzy and discovered Black Sabbath who I instantly fell in love with musically and lyrically. Black Sabbath is still one of my comfort/ go to bands I love to blare full volume in my car stoned as fuck cruising down the way or in my room alone with my thoughts. It's hard to choose out of so many great songs and albums, but pretty much anything on the first six albums is mind blowingly beautiful. N.I.B is my favorite Sabbath song and *Madman*\-era Ozzy. *Sabotage* and *Black Sabbath* are my favorite albums. — [Courtney Paynter](https://www.instagram.com/thrashylawless/?ref=see-saw.fun) ([Public Assassination](https://sexfiendabomination.bandcamp.com/album/public-assassination?ref=see-saw.fun)) --- I saw and heard Iommi playing the SG and knew that’s what I wanted to play forever. “Under the Sun / Everyday Comes and Goes” is my favorite of theirs. Smoking weed in my friends basement listening to Sabbath with all the lights off and getting scared—a wonderful feeling. The first records I bought were the first four Sabbath records, Donovan’s *Mellow Yellow*, and the first *Nuggets* comp. I traded the latter two the next week. — Drew Owen ([Sick Thoughts](https://sick-thoughts.bandcamp.com/?ref=see-saw.fun), [Total Hell](https://totalhell.bandcamp.com/?ref=see-saw.fun)) --- I was fortunate enough to grow up with a “Sabbath Dad.” Where most folks my age had the Beatles playing in their childhood homes, my father was playing the darker sounds of Black Sabbath and Ozzy. By the time I made it to high school, a mutual fondness of skateboarding and Sabbath was often the foundation of numerous lifelong friendships. I often wonder where I’d be and who I’d be if it wasn’t for tritones and the words: “What is this that stands before me.” — Charles Stahl ([The Stools](https://thestoolsdetroit.bandcamp.com/?ref=see-saw.fun), [Painters Tapes](https://painterstapes.bandcamp.com/music?ref=see-saw.fun), [H8 Mile](https://painterstapes.bandcamp.com/album/spread-the-love?ref=see-saw.fun)) --- I became obsessed with the song “Paranoid” because of *Rock n' Roll Racing* for the SNES in probably like 1995—it was probably one of the first non-Weird Al songs I loved. I got a Black Sabbath t-shirt from Rockabilia (a local company I would later harass relentlessly for a Terrorizer “World Downfall” shirt) for the album *Forbidden* but learning he wasn’t on the album, I used white-out to make it say “is Forbidden without Ozzy.” I met a few other losers in Ozzy shirts who also were afraid of girls and we spent our summers taking bong hits using Surge instead of water, which we would later drink. As far as punk is concerned, Ozzy and Black Sabbath set me back probably a decade by turning me into a metalhead. I had to get into punk through stadium crust. If only I had known his bassist, Rob Blasko, had been in Cryptic Slaughter. — [Drew Ailes](https://www.instagram.com/acdc.live.1977.london/?ref=see-saw.fun) ([Citric Dummies](https://citricdummies.bandcamp.com/album/trapped-in-a-parking-garage?ref=see-saw.fun)) --- Paris 1970 is truly unmatched. Black Sabbath left it all out on the stage with some of the most evil riffs, haunting vocals, and thunderous drums and bass lines I’ve ever heard, in 1970 no less. Watching this set for the first time as a child was foundational to how I approach playing gigs to this day; loud, uncompromising, heavy, and looking bad fucking ass the entire time. — Jolene (The Gobs) --- Most musicians wouldn’t be who they are without Ozzy’s influence, and I’m no exception to that. My grandpa had a big hand in raising me and three of his favorite things are skulls, motorcycles, and Ozzy Osborne. There’s nothing better than listening to Sabbath in an old Chevy with your cool grandpa, and I’m sure those memories have shaped me in more ways than I can count. Even my other band Coupon Code does a weird, sexy, pop version of Mr. Crowley, which I hope Ozzy is fondly listening to in hell. — El ([T.U.F.T.](https://pokeysrecords.bandcamp.com/album/swallow-me-whole?ref=see-saw.fun)) --- I REALLY heard Sabbath for the first time when I was about 6 or 7. 101.1 THE WRIF was on and they were playing “Paranoid”; my dad turned it down low to explain to me that they had accepted demons into their bodies to give them their unholy abilities to play such evil music. This made the little Baptist raised me go to my room that night and pray at the side of my bed not to God, but Satan, asking him to send a demon into my body so I could maybe go on stage one day and play heavy rock’n’roll like Sabbath did. Did that work? No, but it made music have an entirely new aura to me forever; it gave me the inspiration to understand the meaning and value of darker themes in art and music, courage to add a theatric element to the messages and aesthetic of the music that we make whether that translates or not. All Hail Ozzy, All Hail Black Sabbath. — Kyle Edmonds (208) --- *see/saw is a reader-supported newsletter, so please do* [*subscribe*](https://see-saw.fun/#/portal/)*.* ### punk this week: class act, guyscrapers + 16 more URL: https://see-saw.fun/punk-this-week-class-act-guyscrapers-16-more/ Last updated: 2025-07-25T16:49:52.000Z It’s [Punk This Week](https://see-saw.fun/tag/punk-this-week/), the weekly see/saw column where I round up and write about the best new punk + rock'n'roll records. This week we’ve got an exceptional full-length from Kansas City’s Class Act, a fantastic introduction to Brooklyn’s Guyscrapers, another stellar new track from Useless Eaters, a new track and album announcement from the Cowboys, and so many more killer bands from all over the world. Want to read about all these records? You can if you [subscribe to see/saw](https://see-saw.fun/punk-this-week-visual-learner-rmfc-17-more/#/portal/) for $4/month, $40/year, or barter. There’s a two-week free trial for subscribers. The paid version gets you access to each week’s column, monthly bonus podcasts, and the see/saw radio archive. There are weekly free posts, too, if you want to subscribe for free. This is an independent passion project. Subscribers are a massive deal. --- **Class Act:** [***Malaise***](https://classactz.bandcamp.com/album/malaise-2?ref=see-saw.fun) **\[Under the Gun\]** The latest album from Kansas City’s Class Act is called *Malaise*, and there’s a real sense of malaise permeating this excellent hardcore record. The introduction of “Big Man” is so quiet and trudging that it sounds like a post-rock dirge, and then about halfway in it becomes a rock’n’roll stomper. There’s ambitious songcraft throughout this record, with major shifts in tempo and approach, but the aesthetic is steadfast in its grounded DIY nature. During “Monkey Business” and “Temple Run (The Third Monkey),” I watched a Shrine of the Silver Monkey compilation and felt how much more fraught and tangled my adult life has become. The screaming, stomping hardcore rage on their sardonic banger “World Peace” further underlined that feeling. *Malaise* keeps moving, keeps shifting, and never settles into one rhythm. This is a phenomenal hardcore record. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/07/a3248697287_10-1.jpg)](https://classactz.bandcamp.com/album/malaise-2?ref=see-saw.fun) _This post is for paying subscribers only._ ### punk this week podcast 43: panic shack + scud URL: https://see-saw.fun/punk-this-week-podcast-43-panic-shack-scud/ Last updated: 2025-07-22T18:06:41.000Z ![audio-thumbnail](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/media/2025/07/punk-this-week43_mixdown_thumb.png) punk this week 43: panic shack + scud 0:00 /3609.234208 1× [Punk This Week](https://see-saw.fun/tag/podcast/) *is see/saw’s weekly podcast from co-hosts Evan Minsker and Nina Corcoran—a discussion of the latest and greatest in the world of punk rock. We talk about six new punk records we’re loving from the past week.* Our hosts ponder if Chester Cheetah has too many snack subsidiaries going at the same time, and then snack talk extends into punk talk with a revelation about Fiddle Faddle product placement. We brought records by [Panic Shack](https://www.google.com/url?q=https://panicshack.bandcamp.com/album/panic-shack&source=gmail&ust=1753290711306000&usg=AOvVaw1icIwHPc5cuvCGjfnpf7a3), [Scud](https://scudsmells.bandcamp.com/album/dirt-ep?ref=see-saw.fun), [Catchin’ Yetis](https://catchinyetispa.bandcamp.com/album/stand-tall-little-fish-demo?ref=see-saw.fun), [Visual Learner](https://visuallearner.bandcamp.com/album/greg-2?ref=see-saw.fun), [Jug & the Bugs](https://keeperrecords.bandcamp.com/album/ground-you-kr-026?ref=see-saw.fun), and [FRENZY](https://mendekudiskak.bandcamp.com/album/095-frenzy-fattal-demos-cassette-pre-order-starts-july-25th?ref=see-saw.fun). Also discussed: Michael Stipe (bye!), what’s on the rider for the graveyard prog metal show, and how jug punks are busting MJ Lenderman’s wristwatch monopoly. --- Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.fun). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/see%5Fsaw.fun/?ref=see-saw.fun) and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). Have a question you’d like to hear addressed on the show? Want to talk about a new record we didn’t discuss? Want to send a HARD PIVOT or NO AMERICANS bumper? Join us on the see/saw [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun) or email us: [see-saw@see-saw.fun](mailto:see-saw@see-saw.fun). *Punk This Week* is made possible by see/saw subscribers; please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-42-eddy-current-suppression-ring-tunnel-vision/#/portal/) if you enjoy this podcast. You’ll learn about way more punk records than we can pack into the podcast! ### superman (2025), cm punk, and the corporate effort to define punk rock’s spirit URL: https://see-saw.fun/superman-2025-cm-punk-and-the-corporate-effort-to-define-punk-rocks-spirit/ Last updated: 2025-07-21T15:42:41.000Z \[*Spoilers*.\] Lois Lane is thinking about the past. She was a punk rock kid, she says. Superman responds that he likes punk, citing the Mighty Crabjoys \[fictional\]. Lois scoffs because that’s mainstream radio shit. They begin to measure their integrity against each other. (Bickering journalists in love??? Get off James L. Brooks’ jock!) She questions endlessly, he trusts implicitly. “You think everything and everyone is beautiful,” says Lois. With a significant look, Superman responds, “Maybe that’s the real punk rock.” As the movie continued, it became clear that this scene was the emotional centerpiece of the film. The movie ends with both main characters pursuing their individual visions of the punk rock spirit. Lois outs Luthor as a criminal with the power of journalism (and the world instantly turns on him!) while Superman asks his defeated foe to seek his better angels. (Earlier in the movie, Lex shot a man in the head, tortured his social and political opponents, and attempted at least two genocides. But hey, find Christ and keep steppin’, my man!) With the emotional weight of a giant corporate summer blockbuster contingent on that scene, *Superman* (2025) demands to be viewed as a punk movie. I don’t make the rules. Lois and Clark have a flirtatious punk credibility debate and [Iggy Pop sings](https://www.youtube.com/watch?v=8P09rxVaQAM&ref=see-saw.fun) “I’m a punkrocker, yes I am” over the credits. My dad, who raised me on comic books, looked over and laughed at how audibly I was biting my tongue during every punk invocation. It is deeply fucking bewildering when corporations pay to mass-produce fiction that attempts to define the spirit of punk rock with the asterisk “remember that rich murderers are people, too.” James Gunn is a former [musician](https://music.apple.com/us/song/indestructible-gun/1730810859?ref=see-saw.fun), and now he’s in a seat of power. “Superman will attempt to vouch for his punk bonafides,” he decided. “I’m going to co-write a pop punk end credits theme by Superman’s favorite fictional band,” and so it was. In an [interview with Den of Geek](https://www.denofgeek.com/movies/superman-a-punk-james-gunn-weighs-in/?ref=see-saw.fun), Gunn made a case for his line of logic here: *“Punk rock is going against the grain. We live in an age where everything is so mean and so ugly. Everyone is screaming at one another. Right now the most punk rock thing you can do is be kind, be raw, be open, look out for the person who needs looking out for, be unapologetically earnest. I think those are the things that are most rebellious. Being a goodie-goodie is what’s punk rock about him. He is those things, he is Pollyanna. He is old-fashioned, and aren’t we a little thirsty for people like that \[because\] there aren’t any anymore? They’ve all become mean.”* Gunn’s opening argument is that at punk’s defining root, it’s an opposite reaction to the most common action. This isn’t an uncommon portrayal of punk’s motivations, but challenging society’s norms alone is a straw man when it doesn’t exist in the correct context. On its own, “punk rock is going against the grain” is the premise of the [Ian Rubbish sketch](https://www.youtube.com/watch?v=EEmIIl96zk0&ref=see-saw.fun) and a blog titled “How the MAGA movement became the new punk rock.” The broader piece of Gunn’s argument, of course, holds water. Being kind, staying earnest, and building community are crucial to punk scenes across the world. That shit is real. Look out for each other. Brake for birds. Tip the punk house, buy the touring band’s merch, offer a floor to crash, and volunteer at the community-run spots. But holy shit, compassion and empathy’s limits do not extend to billionaires and heads of state behind human rights atrocities. It was especially fucked to have “punk means compassion above all else” telegraphed to me by a media corporation’s mass-produced fiction for the second time in two weeks. At the end of June, the trans and abortion and [workers’ rights](https://www.youtube.com/watch?v=Ttt9DsyFzYc&ref=see-saw.fun) wrestling iconoclast [CM Punk apologized](https://defector.com/cm-punk-loves-saudi-arabia?ref=see-saw.fun) to *everyone* (and that means everyone) in Saudi Arabia. He was there working a show for WWE. Here’s the short version of this whole thing: He’d written a tweet some years back talking shit about WWE’s absurdly lucrative “[blood money](https://www.bbc.com/news/world-europe-45812399?ref=see-saw.fun)” shows in Saudi. He also promised he’d never work one of those shows. Well, he works for WWE now and adores money. I haven’t been in the tank for this guy in quite a while, but in CM Punk (2025) we again see the dual tenets of “go against the grain” and “be broadly kind.” He’s the self-proclaimed voice of the voiceless, a Chicago kid outcast who loved wrestling, comic books, and punk. He champions the right causes. On TV, he was given an ultimatum to agree to a match in Saudi Arabia. That’s the fiction presented by WWE: He wears the right shirts, he’s got fighting words for his scripted enemies, and he must apologize to Mohammed Bin Salman. Punk savored the boot and lost the match. His boss was [incredibly proud](https://www.f4wonline.com/news/wwe/triple-h-says-hes-incredibly-proud-of-cm-punk-for-apologizing-to-saudi-arabia/?ref=see-saw.fun). When people in power are doing active harm, sacrificing your empathy and integrity to the demonstrably evil is a mistake. Point that shit where it matters. Anyway, back to the No. 1 Movie in America: Lois Lane is a punk, journalism is important, and the Krypto scenes are extremely good. ### punk this week: visual learner, r.m.f.c. + 17 more URL: https://see-saw.fun/punk-this-week-visual-learner-rmfc-17-more/ Last updated: 2025-07-18T18:08:06.000Z Hey, it’s [Punk This Week](https://see-saw.fun/tag/punk-this-week/), the weekly see/saw column where I round up and write about the best new punk + rock'n'roll releases. This week we’ve got the full-length from Minneapolis’ Visual Learner, a new single from R.M.F.C., a Béton Armé side project, and some deeply sick records from Japan, Italy, Germany, and Australia. Want to read about all the records? You can if you [subscribe to see/saw](https://see-saw.fun/#/portal/) for $4/month, $40/year, or barter. There’s a two-week free trial for subscribers. The paid version gets you access to each week’s column, monthly bonus podcasts, and the see/saw radio archive. There are weekly free posts, too, if you want to subscribe for free. This is a purely independent passion project operation, so any kind of subscription is a huge deal. Thanks for reading, now enjoy these 19 blurbs I wrote. --- **Visual Learner:** [***Greg***](https://visuallearner.bandcamp.com/album/greg-2?ref=see-saw.fun) **\[Salinas/Bloated Kat\]** The first time I met Zac Mayeux of Visual Learner, Texture Freq, and Panel, we talked for a good while about Weezer. The last time I saw him, he went on a “Rock, Rot & Rule”-style rundown of what bands are and are not pop punk. Visual Learner are pop punk in the most Minneapolis way imaginable, this pop-forward mixture of peak early ’90s college rock and Denton-style power pop. Avery Taylor from the band is originally from Denton and the Marked Men’s Jeff Burke mastered this album. The songs across *Greg* do everything exactly right. They’re catchy, and thanks in large part to Tim Chandler‘s drumming and Morgan Purcell’s bass, fully relentless. If you haven’t heard “THEMCHARMINGHAMMS” before, it’s a masterpiece. I love Morgan’s vocals on the album’s most aggro track “Cure-All.” I’ve taken *Greg* for a few drives and it sounds better every time. It’s one of those bands that’s brand new but the songs sound like they’ve been on community radio rotation since 1993\. It rules. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/07/a2454645621_10.jpg)](https://visuallearner.bandcamp.com/album/greg-2?ref=see-saw.fun) --- _This post is for paying subscribers only._ ### punk this week podcast 42: eddy current suppression ring + tunnel vision URL: https://see-saw.fun/punk-this-week-podcast-42-eddy-current-suppression-ring-tunnel-vision/ Last updated: 2025-07-15T15:47:37.000Z ![audio-thumbnail](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/media/2025/07/punk-this-week42_mixdown_thumb.jpg) punk this week 42: eddy current suppression ring + tunnel vision 0:00 /3831.210438 1× [Punk This Week](https://see-saw.fun/tag/podcast/) *is see/saw’s weekly podcast from co-hosts Evan Minsker and Nina Corcoran—a discussion of the latest and greatest in the world of punk rock. We talk about six new punk records we’re loving from the past week.* What does it mean to build community through a punk rock podcast? It means unintentionally encouraging listeners to show up to see/saw events bearing Frostie. We discussed new records by [Eddy Current Suppression Ring](https://eddycurrentsuppressionring.bandcamp.com/album/shapes-and-forms?ref=see-saw.fun), [Tunnel Vision](https://tunnelvision709.bandcamp.com/album/purrgatory?ref=see-saw.fun), [Powerplant](https://ppowerplant.bandcamp.com/album/heat-ep?ref=see-saw.fun), [DÄÄCHT](https://daacht.bandcamp.com/album/crying-houses-2?ref=see-saw.fun), [AYUCABA](https://metadonarecords.bandcamp.com/album/ayucaba-operaci-n-masacre-lp-met-43?ref=see-saw.fun), and [Sluta Ljug](https://slutaljug.bandcamp.com/album/brinn?ref=see-saw.fun). Also discussed: Eddy Current’s non-EP single “[Swimming Hole](https://www.youtube.com/watch?v=WgpKEMAfU%5FU&ref=see-saw.fun),” new albums by [Cruelster](https://convulserecords.bandcamp.com/album/make-them-wonder-why?ref=see-saw.fun) and [Dona Casque](https://donacasque.bandcamp.com/album/dona-casque?ref=see-saw.fun), the punk rock baking community, friends of *Heat* (1995), and the hazards of Rev’d Up Sprecher root beer. --- Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.fun). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/see%5Fsaw.fun/?ref=see-saw.fun), [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun), and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). Have a question you’d like to hear addressed on the show? Want to talk about a new record we didn’t discuss? Want to send a HARD PIVOT or NO AMERICANS bumper? Email us: [see-saw@see-saw.fun](mailto:see-saw@see-saw.fun) *Punk This Week* is made possible by see/saw subscribers; please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-41-inch-yuasa-exide-boo-hiss/#/portal/) if you enjoy this podcast. You’ll learn about way more punk records than we can pack into the podcast! ### punk this week: eddy current suppression ring, cruelster, tvo + 14 more URL: https://see-saw.fun/punk-this-week-eddy-current-suppression-ring-cruelster-tvo-14-more/ Last updated: 2025-07-11T17:39:32.000Z Hello, it’s [Punk This Week](https://see-saw.fun/tag/punk-this-week/), see/saw’s weekly column featuring recommendations of the best new punk + rock'n'roll records. Eddy Current Suppression Ring are back with a new EP, which is enough to make it an excited week for new punk records *before* you get to the stellar new records from Cruelster, TVO, the Wind Ups, Powerplant, and more. If you want a big pile of writing about a big pile of records in your inbox, I charge $4/month or $40/year for this full column. That $4 will also get you the entire backlog of Punk This Week columns, the bonus podcasts, and the [radio archive](https://see-saw.fun/see-saw-radio/). I use the money to pay writers and artists for their work. There’s a two-week free trial, if you want to try it out. [Subscribe](https://see-saw.fun/punk-this-week-useless-eaters-lava-yuasa-exide-boo-hiss-7-more/#/portal/) free or paid to my independent, anti-billionaire, reader-supported punk publication. --- **Eddy Current Suppression Ring:** [***Shapes and Forms***](https://eddycurrentsuppressionring.bandcamp.com/album/shapes-and-forms?ref=see-saw.fun) **\[Cool Death\]** Earlier this year, Eddy Current Suppression Ring returned with “Swimming Hole,” a YouTube-only banger that stood shoulder to shoulder with their best. The band started popping up at shows in Australia, and now there’s a new 7” on Cool Death. Their last record was the 2019 full-length *All in Good Time*, a nearly decade-belated reminder that this band never made a splashy breakup announcement or defined what was going on with them. They could rev the machine back up at any time; it’s not like Mikey Young has nothing else going on. This has always been a band of artistic convenience, one that never aspired to be the next big thing or inspire legions of artists. They went away, they came back, and they’re back again. *Shapes and Forms* does not have a “Swimming Hole” level “holy shit what a hit” situation going for it, but “Shapes and Forms” and “Despite It All” come close. They’re great songs that require more patience than the immediate dopamine rush of their most iconic songs. The Camper Van Beethoven cover doesn’t do much for me beyond the original, but there’s an easy hang nature to this entire 7”. To be frank, *All in Good Time* was my least favorite of the ECSR catalog, and this new one feels like it gets closer to boiling the band’s strengths back down to their essence. As much as I’ll always lose my mind to “You Let Me Be Honest With You,” this is a band that thrives at a simmer. There’s no better band at riding a groove and letting it seep into your pores. The riffs hit and Brendan’s voice sounds great. I hope they don’t take nine years to press “Swimming Hole” on vinyl. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/07/a0203589700_10.jpg)](https://eddycurrentsuppressionring.bandcamp.com/album/shapes-and-forms?ref=see-saw.fun) _This post is for paying subscribers only._ ### punk this week podcast 41: inch + yuasa-exide + boo/hiss URL: https://see-saw.fun/punk-this-week-podcast-41-inch-yuasa-exide-boo-hiss/ Last updated: 2025-07-09T15:15:26.000Z ![audio-thumbnail](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/media/2025/07/punk-this-week41_mixdown_thumb.jpg) punk this week 41: inch + yuasa-exide + boo/hiss 0:00 /3891.644208 1× [Punk This Week](https://see-saw.fun/tag/podcast/) *is see/saw’s weekly podcast from co-hosts Evan Minsker and Nina Corcoran—a discussion of the latest and greatest in the world of punk rock. We talk about six new punk records we’re loving from the past week.* An innocent conversation about [iced fluffy](https://www.youtube.com/watch?v=ju6eZgkDQOY&ref=see-saw.fun) and [Frostie Root Beer](https://en.wikipedia.org/wiki/Frostie%5FRoot%5FBeer?ref=see-saw.fun) leads to a feverish research session about the [Dog N Suds](https://en.wikipedia.org/wiki/Dog%5Fn%5FSuds?ref=see-saw.fun) chain of restaurants, its mascot’s center of gravity, and whether or not our hosts will record a live episode at one of the remaining Dog N Suds locations. This episode—featuring conversations about new records by [Inch](https://inch.bandcamp.com/album/inch-lifestyle?ref=see-saw.fun), [Boo/Hiss + Yuasa-Exide](https://boo-hiss.bandcamp.com/album/split-w-yuasa-exide?ref=see-saw.fun), [the Couch](https://thecouch902.bandcamp.com/album/over-andover?ref=see-saw.fun), [Useless Eaters](https://uselesseaters.bandcamp.com/album/ego-shell-rub?ref=see-saw.fun), [Screaming Target](https://screamingtarget.bandcamp.com/album/screaming-target-demo-2025?ref=see-saw.fun), and [Tokarev](https://ragdollrecords.bandcamp.com/album/8-track-kassette?ref=see-saw.fun)—was not sponsored by Dog N Suds or *The Materialists*. --- Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.fun). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/see%5Fsaw.fun/?ref=see-saw.fun), [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun), and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). Have a question you’d like to hear addressed on the show? Want to talk about a new record we didn’t discuss? Want to send a HARD PIVOT or NO AMERICANS bumper? Email us: [see-saw@see-saw.fun](mailto:see-saw@see-saw.fun) *Punk This Week* is made possible by see/saw subscribers; please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-40-kissland-still-no-p-e-a-c-e/#/portal/) if you enjoy this podcast. You’ll learn about way more punk records than we can pack into the podcast! ### wesley and the boys are the best memphis band from nashville URL: https://see-saw.fun/wesley-and-the-boys-are-the-best-memphis-band-from-nashville/ Last updated: 2025-07-07T15:24:36.000Z The handshake between the Midsouth, Midwest, and Rust Belt is one of the country’s best kept rock’n’roll secrets. Years of being cast aside as the “flyover” region has resulted in punks up and down the Mississippi River banding together to create their own cross-regional scene. Nashville garage rockers Wesley and the Boys have found themselves at the center of that creative whirlwind, honing their live show while spreading the gospel of their home city across state lines and all the way to the West Coast. I met up with the band at Memphis’ Easley-McCain studios, where they recorded a handful of tracks for their sophomore record from earlier this year, [*Rock & Roll Ruined My Life*](https://wesleyandtheboys.bandcamp.com/album/rock-roll-ruined-my-life?ref=see-saw.fun). They’re in town to play What’s For Breakfest, a festival organized by [one of the crucial record labels](https://wfbr.bandcamp.com/?ref=see-saw.fun) documenting the “Flyover State” scene. The festival packs a whopping 22 bands in two days, including my band [Big Clown](https://bigclown.bandcamp.com/?ref=see-saw.fun) playing a set at 12:30 a.m. the previous night. Wesley and the Boys played around 12 hours after our interview and blew the roof off the Lamplighter Lounge. Before then, I caught up with Wesley, Jonny, Ashton, and Joey about their new record, the Nashville scene, and getting into fights on the internet. They’re playing Gonerfest later this year, and Wesley has already finished the demos for the next album. “I think it’s far and away the best thing I’ve ever made.” --- **Wesley and the Boys started as a solo project, right?** Wesley: It was born out of being new to Nashville and not knowing anybody to play with. I had a lot of stuff on a 4-track recorder that I compiled over the years. The [first Wesley and the Boys album](https://wesleyandtheboys.bandcamp.com/album/the-feeling-is-mutual?ref=see-saw.fun) was just a 4-track dump. It was just a means to an end with people in Nashville. When you go out and meet folks and try to get involved with music, they’re like “do you have a Spotify I can listen to?” If you don’t, the culture in Nashville is like “you’re just another one of those delusional people that moved here.” I went to a party one night with a guy and we talked about music for three hours. It was a really good conversation and I was like “send me your music.” His music was actually just him singing his own lyrics over Strokes backing tracks. I felt so duped. **Speaking of Nashville, I can’t help but notice that you guys are basically a Memphis local band at this point** Wesley: One of my favorite compliments that I’ve heard people say is that we’re the best Memphis band from Nashville. **You fit in so well here. I think *Rock & Roll Ruined My Life* reflects that too, because it was recorded in Memphis and Nashville, right?** Wesley: The three songs from the LP that were also on the “Switchblade Twist” 7” were all recorded at Easley-McCain with Matt Qualls. Jonny: We played our very first Memphis show at the Lamplighter with Opposums and the Wirms. The day after, before we had to drive back to Nashville, we recorded all of those songs in four hours. It was quick. **Where’d you record the stuff in Nashville?** Jonny: At my house. **Those recordings are pretty old too, right?** Wesley: I think we tracked them in May 2023, so it’s been just around two years. Jonny: It wasn’t exactly a painful birth, but definitely an elongated one. It was done for a year and some change before it came out. I’m just an endless tinkerer and Wesley was able to be very patient with me. Wesley: There’s those bands you think of where they tinker with everything forever and they end up fucking the record up. I feel like we’re a rare band where it’s actually better the longer we tinker with shit. It’s not really in my nature to do that, but Jonny’s turned me onto his ways to do that a little more. **One thing I really like about y’all is that you’re easily categorizable as a garage rock band, but when you dig through the record, it oscillates between styles pretty frequently. You’ve got the West Coast thing going on “Somebody Help Me,” “Spy” is a little more egg punk, etc. What drives that for you?** Wesley: There are bands where they’re really this fucked up spaghetti of the stuff they like. It’s a little more concerted than that. There’s a strategy. I just like a lot of kinds of music within punk and rock’n’roll. I try to stay relevant. I meet a lot of older mohawk punks that have this attitude towards knowing about music where it’s like “oh, I don’t know what that is \[*fake sarcastic laugh*\]. Let me be a chucklefuck about the whole thing. Ignorance is bliss!” I dunno. It’s the same thing as 40-year-old dads in the year 2000 being like “I don’t know who Britney Spears is.” Jonny: I feel like every venue we went to on the West Coast had ten 45-year-old bummed out punks \[in attendance\] all wearing the same leather jacket. I hadn’t noticed it until we left and Joey was like, “man, every venue we played on the tour has the most sad name.” Like No Fun Bar. Bleak Outlook. Slim’s Last Chance. Everywhere was just like “this place *sucks*.” **Another way you bridge the gap between a lot of these micro-styles on the album is in the mixing. The mixing is different from song to song, but it has this unifying crunchy, bass-heavy sound to it.** Wesley: As someone who really loves music that sounds sonically bad, we actively tried to make our record sound good. I have the fight with myself where Jonny wants to soup it up and make it sound nice, but my natural inclination is “no, let’s fucking run it over.” Jonny: On a lot of older punk records, there’s no presence in the low end. If the record surpasses a half hour, it gets fatiguing to only hear cymbals and guitars. We wanted to make a record where the mixing makes it modern in that way. Wesley: There’s no ignorance here; we are conscious of what we’re doing. There’s some bands where they make a record that’s recorded shitty, and it sounds good, but there’s not any sort of genius thing they’re doing. They just don’t know how to do it any other way. There’s a beauty in that, of course, but with us, we know exactly what it is we’re doing. **Who have y’all seen at Breakfest so far and who are you excited to see?** Jonny: I know I’ve seen them seven or eight times at this point and they’re our tiki rock’n’roll brothers, but I’m always stoked to see Nightfreak. They do the band thing so right. They’re such brothers, it warms my heart to see them onstage. Wesley: I always go back to the old saying, I think it was Johnny Ramone that said it, that your band should be like a gang. They definitely got that down. Jonny: We try to take a page out of that book. ![Wesley and the Boys, photo by Dre Aguírre](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/07/WATB-Lamplighter-Shot-1.jpg) Wesley and the Boys, photo by Dre Aguírre **I feel like the Midsouth/Midwest/Rust Belt punk connection right now is really strong.** Wesley: I think the rest of the country has places where there’s literally nothing fucking happening or places where it’s too expensive to exist as an artist. I feel like the South/Rust Belt/Midwest is the last real large body of area that’s not too expensive to be an artist. Jonny: Nashville is one of the most central cities in the sense that we can go two and a half hours in any direction and hit another city. That connection—they scratch our back and we scratch their back—stretches all the way up to Green Bay. Ashton: That’s what I love most about all of this: You get to build relationships with people. I don’t care about how good of a musician you are or how good of a band you are if you’re a shitty person. The community is the only way that this happens. Jonny: There’s so many good bands in Nashville right now. It feels like it’s taking shape in its own special way. **Where is the Nashville scene right now?** Wesley: The scene is small but mighty. I can think of six or seven bands that are really good. I always joke with the guys in those bands, like “now we need a bunch of shitty rock and roll bands to start!” Ashton: I think a lot of people skip over Nashville because there’s a perception that their band can’t find a bill that works. That’s not the case. There’s more that I think flies under the radar that deserves extra credit. Jonny: I think Nashville gets its well earned industry reputation. Like, that’s the industry guy in the back with his arms folded, they’re gonna see the band they want and then they’ll leave. We’ve experienced our fair share of that. **I’m gonna do a lightning round on your songs, starting with “**[**Jail, Again**](https://wesleyandtheboys.bandcamp.com/track/jail-again-2?ref=see-saw.fun)**.” Have any of you ever actually been to jail?** Wesley and Joey, simultaneously: Yeah. **Woah, I didn’t expect two. Do you wanna talk about it?** Joey: No. **I kinda forgot that it’s “Again,” which does imply the existence of at least one prior jail sentence.** Wesley: I don’t know why I got arrested so much when I was younger. Ashton and Jonny, simultaneously: You know why. Wesley: …Yeah. \[*everyone laughs*\] **“**[**Car Song**](https://wesleyandtheboys.bandcamp.com/track/car-song-2?ref=see-saw.fun)**.” How do you feel about driving? This feels like a real ode to driving to me, and personally I love driving.** Wesley: I love driving but I also like drinking. Those two things don’t go super good. **Is “**[**Alano Club**](https://wesleyandtheboys.bandcamp.com/track/alano-club?ref=see-saw.fun)**” about a place you rented for $190?** Wesley: It was this really weird punk warehouse in downtown Tacoma, Washington. I went there when I was 16 years old with a friend. We had heard about it and were like “we gotta check it out, it’s so gnarly.” We were kids just sneaking up on the boogeyman’s house. We rolled up to the Alano, first time I’d ever seen it, and when I knocked on the door, a naked girl answered it. There was a shitload of naked people there having a certain kind of party. We’re just standing there, mouth agape. The people in the Alano didn’t really know what to expect either, because, if you’re knocking on the door, you’re probably one of the people who wanna come inside and get naked. They open the door and it’s a couple of kids, so they’re just like “oh*, shit*” \[*laughs*\]. Me and my buddy were mortified and walked off. Fast forward three or four years later and me and my best friend from high school went to a show at the Alano. Someone there was like “there’s two people moving out this month, do you guys wanna move in?” We moved into the Alano and lived there for four months. We threw three or four punk rock shows a week. It was a crazy, cool place. When you walked in the front, there would be couches stacked on top of couches six high. I would hang out on the top couch and smoke weed and eat cereal in the morning. This kid who moved out so we could move in had a Ruckus scooter and he’d bust the door down with his bike at 8:30 in the morning. He did donuts in the living room. He would also blow up our toilet with explosives and was in general a really, really scary person. **I love the song “Fight on the Internet,” mostly because I’ve gotten into many fights on the internet and will continue to do so in the future. Was there a specific fight that sparked that for you?** Wesley: There wasn’t, no. I was just having fun on this one. It’s definitely about millennial Facebook fight culture. Jonny: It’s such an overly bombastic, in the streets, “I’m gonna sock you in the mouth” type song and it’s just like “this person posted *what*? I’m gonna \[*punches his hand*\].” **I can’t help but think about the horrible serendipity of this song.** Wesley: \[*laughs*\] I was hoping you’d bring this up. **It came out at almost the same time as the only modern punk fight on the internet.** Wesley: Are you making reference to the great egg punk manifesto of 2025? **I am. It came out the day before the album dropped.** Wesley: I don’t know what they’re teaching kids in school these days. I’m gonna be personally pissed off if the great egg punk manifesto and the great battle that ensued don’t make their way into the kids’ history textbooks. It’s important stuff. **I know you have a vested interest here, because there’s a Wesley and the Boys egg punk album that I personally love. I can't help but think:** [***Internet Punk***](https://sweettime.bandcamp.com/album/internet-punk?ref=see-saw.fun)**, “Fight on the Internet,” it’s all related.** Wesley: It’s definitely a tongue-in-cheek thing. It wasn’t originally planned to be a Wesley and the Boys release. We had just tracked the album and all of a sudden I was like “OK, now I have a whole lot of time to do something else.” I started doing all these home recordings and the initial plan was to make it be a side project, but managing personalities and starting a band is such a daunting task. Upon finishing it and listening through it a couple of times, I was like “why can’t this be us?” I told myself “man, you hate when bands are overly repetitive and make the same record over and over again. You wanna throw people for a fucking loop? You wanna keep people on their toes? Here’s your chance to do it.” I had listened to a lot of egg punk and enjoyed it. I didn’t think that we, perceptively, were an egg punk band, but wouldn’t it be funny to throw our hat in the ring and say, “look, we can do it too and you guys are a bunch of dorks.” The second track on that album \[“The Ballad of Super Weenie Hut Jr.”\] is about a venue I went to in Nashville where I got in trouble for moshing at a punk show. I was feeling bullied for not being enough of a weirdo, I guess. Ashton: Not fitting in. That’s a theme you’ll see through the album as well. --- *Zach Mitchell is a Memphis artist who plays in the band* [*Big Clown*](https://bigclown.bandcamp.com/?ref=see-saw.fun)*. He runs the VHS and cassette label* [*Machine Duplication Recordings*](https://machineduplicationrecordings.bandcamp.com/music?ref=see-saw.fun)*.* *If you enjoyed this article, please consider* [*subscribing to see/saw*](https://see-saw.fun/#/portal/)*, a reader-supported punk + rock'n'roll newsletter.* ### punk this week: useless eaters, lava, yuasa-exide, boo/hiss + 7 more URL: https://see-saw.fun/punk-this-week-useless-eaters-lava-yuasa-exide-boo-hiss-7-more/ Last updated: 2025-07-04T18:57:32.000Z Hey, hi, it’s the Fourth of July and it’s Punk This Week. This column rounds up the best new punk and rock'n'roll records each Friday. This one marks new releases from Useless Eaters (they’re back!), the Detroit queercore duo LAVA, and a split between Midwest bedroom scuzz pop greats Yuasa-Exide and Boo/Hiss. There’s more stuff, too. I’m posting on a national holiday. Most people take off work, but I didn’t because I don’t feel even tangentially patriotic right now. This year, punk music has offered me a pretty crucial counterbalance to this country’s sprint toward mass suffering under fascism. Today’s a good day to listen to loud, angry, bizarre music from this week or any other. You get a lot of free stuff if you’re a free subscriber. I charge $4/month for this full column every week, plus bonus podcasts and the [radio archive](https://see-saw.fun/see-saw-radio/). There’s a two-week free trial if you wanna check these out. [Subscribe](https://see-saw.fun/#/portal/) free or paid to my independent, billionaire-free, reader-supported punk publication. Please take care of your people, go eat some junk, drop your feet into a baby pool. --- **Useless Eaters:** [***EGO SHELL / RUB***](https://uselesseaters.bandcamp.com/album/ego-shell-rub?ref=see-saw.fun) **\[Goodbye Boozy\]** Seth Sutton has brought back Useless Eaters, and thank Christ for that. It’s a recorded return after a few years away; apparently he was living in Berlin for a while and is back in the Bay Area. Both songs pack a post-punk attack that’s simultaneously woozy and jagged. The lyrics are abstracted, but there are flashes that seem to reveal songs about someone’s superficial online lifestyle presentation and subculture cosplay. In two songs, Useless Eaters accomplishes a level of depth that most bands can’t find across an entire album. It’s incredible, watching a punk grow up from the earliest stripped back records and start creating records that are effortlessly multidimensional. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/07/a0633580452_10.jpg)](https://uselesseaters.bandcamp.com/album/ego-shell-rub?ref=see-saw.fun) _This post is for paying subscribers only._ ### punk this week podcast 40: kissland + still no p.e.a.c.e. URL: https://see-saw.fun/punk-this-week-podcast-40-kissland-still-no-p-e-a-c-e/ Last updated: 2025-07-01T21:56:47.000Z ![audio-thumbnail](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/media/2025/07/punk-this-week40_mixdown_thumb.jpg) punk this week 40: kissland + still no p.e.a.c.e. 0:00 /3402.761396 1× [Punk This Week](https://see-saw.fun/tag/podcast/) *is see/saw’s weekly podcast from co-hosts Evan Minsker and Nina Corcoran—a discussion of the latest and greatest in the world of punk rock. We talk about six new punk records we’re loving from the past week.* Summer rolls on as the co-hosts of *Punk This Week* share some thoughts about *M3GAN 2.0* and some secondhand family gossip about Michael Stipe allegedly (allegedly!) being rude one time. Otherwise we’re digging into the exceptional new [KISSLAND](https://kissland.bandcamp.com/album/girls-mignon?ref=see-saw.fun) record, the completely stacked [*still no P.E.A.C.E. still WAR*](https://warbad.bandcamp.com/album/still-no-p-e-a-c-e-still-war?ref=see-saw.fun)compilation, plus new ones from [Xanny Stars](https://xannystars.bandcamp.com/album/adaptor?ref=see-saw.fun), [the Wulongs](https://sludgepeople.bandcamp.com/album/videodrome?ref=see-saw.fun), [Electric Chair, Physique](https://ironlungrecords.bandcamp.com/album/split-lungs-277?ref=see-saw.fun), and [Xerostomia](https://xerostomia1.bandcamp.com/album/xerostomia?ref=see-saw.fun). You wanna hear us celebrate wild new music and also chastise a bald alternative rock icon based on hearsay? Tune in! (Shoutout [Henchman4Hire.com](https://henchman4hire.com/2023/03/15/top-6-shockingest-lightning-based-superheroes-other-than-shazam/?ref=see-saw.fun).) --- Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.fun). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/see%5Fsaw.fun/?ref=see-saw.fun), [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun), and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). Have a question you’d like to hear addressed on the show? Want to talk about a new record we didn’t discuss? Want to send a HARD PIVOT or NO AMERICANS bumper? Email us: [see-saw@see-saw.fun](mailto:see-saw@see-saw.fun) *Punk This Week* is made possible by see/saw subscribers; please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-39-media-puzzle-nuclear-fear/#/portal/) if you enjoy this podcast. You’ll learn about way more punk records than we can pack into the podcast! ### playlist: the best punk songs of 2025 so far URL: https://see-saw.fun/playlist-the-best-punk-songs-of-2025-so-far/ Last updated: 2025-06-30T19:17:57.000Z A hot, humid, swampy summer in the Midwest has been my day-to-day reality as human rights atrocities define contemporary life across the planet. We’re living through a grim era of dehumanization at a mass scale. When shit feels unbearable, it’s definitely a consolation prize to engage with new punk music on a daily basis. It’s not just the speed, volume, or anger of this music that lends itself to catharsis; it’s the tangibly human element. The vast majority of stuff I write about on see/saw feels more grounded than everything on the Billboard Hot 100\. I’d rather be sonically chain-whipped by people working day jobs than dropped into a corporate pop star’s big budget sound bath. (Side rant: Fuck Spotify, [shout out Deerhoof](https://www.instagram.com/p/DLhpeEzMMkn/?hl=en&img%5Findex=1&ref=see-saw.fun), support unions like [UMAW](https://weareumaw.org/?ref=see-saw.fun).) Give me the blown out, top-speed, visceral noise expression of someone getting together with their friends in a basement than some glistening over-worked record made in the world’s most expensive studio. If you’re reading see/saw, “Sex Fiend Abomination Tapes and Discs puts out better music than Universal Music Group” is not a surprising take, but with every new month of see/saw, I’m getting more and more in touch with what I loved about music writing to begin with: the work itself, not the celebrity bullshit. When I listen to punk music, go to shows, and talk to other people who love this stuff, I feel like a human being with my feet planted on the ground—not a live-wire anxiety cog doing breaking entertainment news for an unforgiving information superhighway. I even like myself lately. Here are my favorite punk songs from the first half of 2025\. It’s unranked, just sequenced in a way that sounded right. There’s an embed below if you view this post in a browser, or you can listen here. This one’s free for everybody. If you like it, please [subscribe to see/saw](https://see-saw.fun/#/portal/). ❤️ --- [**the best punk songs of 2025 so far**](https://www.buymusic.club/list/seesaw-see-sawfuns-best-punk-songs-of-2025-so-far?ref=see-saw.fun) Panel: Neurotica Fugitive Bubble: Rot Steröid: After Dawn Jolana Star: Stoned Alone Necron 9: Flower Child The Number Ones: Sorry Lùlù: Lùlù Good Ramen: Bite Marx Yuasa-Exide: Marjorie The Vacant Lot: Age Autobahns: Bad Day T.A.C.K.: Repair Man Amex: Mememe TV Crime: Never Been in Love Misprints: feel NYLON: Pig Pen Tommy: Sleeping Dogs Teo Wise: Morto di Caldo Puffer: Jimmy Electric Chair: Barbed Wire Fence Amor, Muerte Y Leonora: Apaga La Luz Split System: On the Loose Media Puzzle: Bundy Vision Makin’ Out: Sunflower Song Um, Jennifer?: Girl Class Xanny Stars: Green Sugar Self Improvement: Settle Down Eye Ball: The Cheapskate Skull Cult: Organization Raya: Malas noticias Billiam & Busted Head Racket: Take Ya to War vale vale vale vale vale: Pica La Puerta Cult Crime: Desperation Happy Death Men: Dancing With the Lights Off SEXFACES: Anti-Satanic Drugs Answering Machines: Waste My Time TY: USA Cold Meat: Prick at the Pub KiLynn Lunsford: Disney Girls Eraser: Simon Says Piggy Bank: technology discriminates against the poor Stress Positions: Sadistic Rapid Dye: Penance Nisemono: 酷い思い出 (Hidoi Omoide) LASSO: Aquém Brown Eyed Girl: You Won’t See Me Gee Tee: Hit With a Club Shit Missile: Sean’s on Social Work Delivery: Operating at a Loss OUST: Rather be a fuck up than a fascist Pure Terror: Mara Baad Mara مرة باد مرة Waterschade: Church of Cunt The MFC: Piss on a Tesla EKGs: Dumbss Coffee Stain: Hot Rod Kaleidoscope: Blood Minerals Nick Cage: Swing State Total Con: Riders on the STorm Nympho: Where’s My Shit null tone: og nå har du blitt ingenting Cheap Fix: Re-animator Blues Good Flying Birds: Last Straw Dumbells: Seeds MSPAINT: Wildfire Sister Agnes: Sister Jeanne Sharp Pins: I Can’t Stop Ex-Vöid: Swansea Pigeon Pit: alone in the basement (for august) The Gotobeds: Goes Away Day Residue: I love what you’ve done with the place Artificial Go: Circles Boo/Hiss: Banana Song Egg Girl Girl: Post Hole Twisted Teens: Circus Clown Plastic Act: Everywhere I Go Crayon Cats: October Girlfriend Frizbee: Me Time Power Pants: Rock n' Roll Babe Dorothy Fuzz: 123 Understand Me Chime Oblivion: Neighborhood Dog Mirror Mask: Bleed U Dry Rough Francis: Great to Be Alive The Men: At the Movies Sex Scenes: Nothing HUEVO: Fiesta GHOULIES: Four Decisions Every Minute Kram-A-Xam: Itty Bitty Toe PORQ: Battery Acid Molbo: Fun and Games Gavin Picon-Seara: Earn My Life Seudo Youth: M\*A\*S\*H Silo Kids: Planet Science Man: Animals Small Portions: Dumb as Dirt Commitment: Send the Deposit Elvis 2: On the Motorway Snörkler: The Virus Punter: Bone to Pick Monda: Everything You Wanted Meow Meow and the Smackouts: An Decent Punch the gobs: do I look like I DILLIGAF, man? Beer: Pine Barrens Cerezas: Cerezas Gnome: I Like It Waylon Thornton: Maids, Mothers, Widows, and Wives The Smog: Speed of Life Game Set Match: Hang Out With You Krystian Quint & the Quitters: Outer Drive Wesley & the Boys: Grieving Dru the Drifter: Sold My Soul for Rock and Roll Paper Jam: Polka Dot Girl Palánta: Agáta Heavy Möther II: One Man’s Love Liaam: Dancing With My Clothes On Mary Jam: Mopeds SPLEEN: Albatros Pyrex: The Curse Lambrini Girls: Company Culture Strawberry Moon: Polly Pocket World Positive Thinking: Controlled Burn Spike Pit: Servant Jacket Burnet: Tonite Vermit: The Curtain Lame: Te Traigo Una Bomba Mi Amor Grief to Alice: Stupið Embargo: Embargo Outtacontroller: Cheap Pop Meditation: Small Places SPY: On the Brink The Disgusting: Disgusting One KISSLAND: I don’t care you broke your elbow Sex Germs: Breeder 悶煮悶MENGZHUMENG: SPACE RED ARMY Delta Van Del: I’m a Lover Dauber: Making Mega Moves LAXISME: écarté Fugue State: In the Lurch Bratakus: Final Girls Isabella Strange: Unfinished Business Johnny Maraca & the Marockers: Nobody Else FACS: Sometimes Only Johnny Skin: I Need You DANA: Ether Frolic GLITTERFAST: GLITTERFAST Bad Breeding: Blood Manifest Phobophlyptix: Environmental Racism S.O.H.: Psychological Warfare Alienator: Alienator Ritual Cross: Simulations PISS ME OFF: SLIDE THE SHELL Clenchers: Get Around Judy and the Jerks: Bug Boys Pizza King Girl: Pac Man Roller Skates PAL: I Think You Should Order Olivia’s World: Chemlab Nurse Joy: Eclipse Violet Bloom: Despize Warthog: Iron Fist Powerplant: Crashing Cars Motorbike: Cold Sweat Béton Armé: Cercle Vicieux T.U.F.T.: Gun Irked: The Hardest Man in Billingham Tyvek: I’ve Got TV Perverts Again: Cussword Michael Younker: So What! Water Machine: Hot Real Estate Why Bother?: Speck’s Lament Bart and the Brats: Sick Sick Sick ### punk this week: xanny stars, elle barbara, electric chair, the gobs + 16 more URL: https://see-saw.fun/punk-this-week-xanny-stars-elle-barbara-electric-chair-the-gobs-16-more/ Last updated: 2025-06-27T15:24:06.000Z Hey, it’s Punk This Week, see/saw’s weekly punk and rock'n'roll recommendations newsletter. This time, there’s a pile of sick new stuff out of Olympia. We have to talk about the visionary work of Montreal’s Elle Barbara, a new one by Cleveland’s Xanny Stars, plus new stuff from Iron Lung, La Vida Es Un Mus, Erste Theke Tontraeger, and Convulse Records. I’m typing this in a moving vehicle. (No, I’m not driving.) I just want to illustrate the absurdity of my commitment to posting these Friday columns, which are available every Friday to [paid see/saw subscribers](https://see-saw.fun/punk-this-week-water-machine-alienator-billiam-davila-666-21-more/#/portal/) (who also get the radio archive and bonus podcasts). That’s $4/month, $40/year, or barter. Free subscribers get plenty of stuff, too, but there’s a two-week free trial if you want to try everything. The money mostly goes to pay punks for their work. This newsletter is an art practice and love letter to loud music and the people who make it. [Subscribe to see/saw](https://see-saw.fun/punk-this-week-water-machine-alienator-billiam-davila-666-21-more/#/portal/), free or paid. It helps way more than I can convey here, plus you get good punk writing sent directly to your inbox. --- **Xanny Stars:** [***Adaptor***](https://xannystars.bandcamp.com/album/adaptor?ref=see-saw.fun) **\[Just Because\]** This is a Cleveland rock’n’roll band that does that perfect thing where pop glossiness is mashed into rock’n’roll grit. It’s that rare power pop Voltron where the band rides a riff that kicks untold ass and the drums sound massive. At first the vocals sound subdued, then they’re powerful. It builds to the point where what you were processing as their final form has become something altogether more magnificent. It was expertly recorded by Jerome Westerkamp at Checkered Flag. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/06/a4002078680_10.jpg)](https://xannystars.bandcamp.com/album/adaptor?ref=see-saw.fun) --- _This post is for paying subscribers only._ ### see/saw jukebox: pigeon pit’s lomes oleander URL: https://see-saw.fun/see-saw-jukebox-03-pigeon-pits-lomes-oleander/ Last updated: 2026-06-04T22:12:38.000Z *see/saw jukebox* is a new monthly bonus podcast from *Punk This Week* hosts Nina Corcoran and Evan Minsker, available exclusively to [paid see/saw subscribers](https://see-saw.fun/see-saw-jukebox-02-natalie-hoffmann-optic-sink-nots/#/portal/)! (It’s $4/month to support some independent punk reporting + there’s a two-week free trial.) In each episode, Nina and Evan are joined by a guest, and all three pick a perfect punk record to add to the idyllic punk jukebox of their mind. The latest episode features a conversation with the exceptional songwriter Lomes Oleander of Olympia’s Pigeon Pit. Earlier this year, the band released their new album [*Crazy Arms*](https://pigeonpit.bandcamp.com/album/crazy-arms?ref=see-saw.fun). We discussed that record, which sandwiches Lomes takes with her on an airplane, stuffing a piano into a basement, the chemistry and mechanics of old photo booths, New Orleans delicacies, and of course, the location and circumstances of Lomes’ *mind jukebox.* What’s getting added to the see/saw jukebox this time around? [Subscribe to see/saw](https://see-saw.fun/see-saw-jukebox-02-natalie-hoffmann-optic-sink-nots/#/portal/) and listen below! --- _This post is for paying subscribers only._ ### punk this week podcast 39: media puzzle + nuclear fear URL: https://see-saw.fun/punk-this-week-podcast-39-media-puzzle-nuclear-fear/ Last updated: 2025-06-24T13:17:41.000Z ![audio-thumbnail](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/media/2025/06/punk-this-week39_mixdown_thumb.jpeg) punk this week 39: media puzzle + nuclear fear 0:00 /3247.690771 1× [Punk This Week](https://see-saw.fun/tag/podcast/) *is see/saw’s weekly podcast from co-hosts Evan Minsker and Nina Corcoran—a discussion of the latest and greatest in the world of punk rock. We talk about six new punk records we’re loving from the past week.* Our Midwestern punk pod duo are trying to beat the heat wave, which of course means they’re jumping in the pool, eating ice cream, and sweating it out at punk shows. This time they’re chatting about new records from [media puzzle](https://mediapuzzle.bandcamp.com/album/intermission?ref=see-saw.fun), [Nuclear Fear](https://lavidaesunmus.bandcamp.com/album/pantomime-of-power?ref=see-saw.fun), [Mary Jam](https://maryjammusic.bandcamp.com/album/this-is-a-joke?ref=see-saw.fun), [Billiam](https://hiimbilliam.bandcamp.com/album/sylvie-s-goes-to-hawaii?ref=see-saw.fun), [Skinhead](https://skinhead.bandcamp.com/album/its-a-beautiful-day-what-a-beautiful-day?ref=see-saw.fun), and [*Olive Seeds: An International Benefit for Mutual Aid in Gaza*](https://thedissidents.bandcamp.com/album/olive-seeds-an-international-benefit-for-mutual-aid-in-gaza?ref=see-saw.fun). We’d strongly encourage you to dive into the bigger pile of [Gaza benefit punk compilations](https://see-saw.fun/buy-these-punk-for-palestine-benefit-releases-from-2024/) from last year. --- Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.fun). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/see%5Fsaw.fun/?ref=see-saw.fun), [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun), and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). Have a question you’d like to hear addressed on the show? Want to talk about a new record we didn’t discuss? Want to send a HARD PIVOT or NO AMERICANS bumper? Email us: [see-saw@see-saw.fun](mailto:see-saw@see-saw.fun) *Punk This Week* is made possible by see/saw subscribers; please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-38-self-improvement-panel/#/portal/) if you enjoy this podcast. You’ll learn about way more punk records than we can pack into the podcast! ### kaleidoscope, an angry band that’s never been angrier URL: https://see-saw.fun/kaleidoscope-an-angry-band-thats-never-been-angrier/ Last updated: 2025-06-23T20:17:37.000Z Kaleidoscope may not live together anymore, but their bond is just as strong. Shiva Addanki, Owen Deutsch, and Joe Nelson got their start practicing in a shared basement and have since grown into a movement. Between this band and their other projects, including Tower 7, Straw Man Army, and D4MT Labs, a special niche for political hardcore has been carved in a New York where many scenes are vying for airtime. But when you’ve truly got something to say, and Kaleidoscope has a *lot* to say, people will stop and listen. Their new LP, [*Cities of Fear*](https://lavidaesunmus.bandcamp.com/album/cities-of-fear?ref=see-saw.fun)*,* came out on La Vida En Mus at the end of April. The release show was a month later at Trans Pecos, where I caught the trio before they played the album for the first time. Joined by friends Hysteric Polemix, Mirage, and No Knock, as well as a packed room of rowdy punks, the band divulged on the album’s process and their current creative philosophies. --- **It's been five years since your last proper release and six since your last LP; what’s it like getting Kaleidoscope back into the scene?** Shiva Addanki: I love being able to be an old head. Owen Deutsch: I wanna say for the record that it's so funny to be the youngest person in the room for so many years, and then there was COVID. And then we come back, and now the old heads. And we're not that old. I just turned 30. Joe Nelson: Shiva and I started going to shows before he was even a teenager, and, at the time, there was nobody even close. Shiva Addanki: It was like a novelty. We stayed being the youngest people for a long time. Joe Nelson: Even when we were like 25 years old people said “you’re a fucking baby.” Shiva Addanki: And then lockdown happened, and then we came out of it, and we were old heads. It was sick because we hit the chrysalis moment. Joe Nelson: There’s definitely a moment of like shock where you’re like, oh my god, I’m old. Shiva Addanki: The first show I went to after my daughter was born, on the merch table there was a QR code and I was like, “What the fuck.” It had been months since I had been to a show. **Why was now the right time for Kaleidoscope to put out something new?** Shiva Addanki: I had a child in 2022\. We were busy with other bands in the couple of years before that. So really, this was just as soon as we could get to it. Owen Deutsch: We did a show with this band, Ferocious X from Japan, and we had time to give to Kaleidoscope, which oftentimes is given to different bands. So we were able to play and write one song, and we were all just thinking we could do this again really fast. Shiva Addanki: We had been wanting to write for about a year, and I was about to move away, so I had this sense of urgency about wanting to put something down. That's when we made pretty quick work of it. **How long did the process take?** Shiva Addanki: It was like probably five days of writing and five days of recording and engineering. So it took five years to do it in 10 days. Joe Nelson: But \[Shiva\] had plenty of ideas to bring to us, and we just flushed them out. Shiva Addanki: As a group, our philosophy has been to never waste an idea that we’ve put our hand to. And so there were lots of loose scraps that we had been storing up, cause a lot of our music has been exclusively written in my head. Owen Deutsch: It’s a listening band for sure. Classic Kaleidoscope is just, we talk way more than we practice. **Was the goal to write a full album?** Owen Deutsch: We didn’t know exactly what it would be. It just turned out to be a 12". Shiva Addanki: But it’s also the economics of putting out 7-inches. They cost way too much now to be the lingua franca of punk anymore. 12-inches made more sense. And to do a short one would be a waste. So we made enough of a record to be a substantial 12". Owen Deutsch: Tapes are still worth it, but 7-inches are $12 sometimes. It’s insane. Shiva Addanki: It even felt ridiculous to be selling it for $8 back when we put out *Decolonization*. Owen Deutsch: But this balanced out our ledger. We’ve done three 7-inches and we've now done three 12-inches. Shiva Addanki: There has to be symmetry. It’s important. **On a more sonic level, what makes this album different than the last?** Owen Deutsch: We used to play our songs live to write them and figure out how we wanted to play them. And then this record, tonight, we’re playing all of it for our first time and everyone else’s first time. We also haven’t played in New York in almost a year. Shiva Addanki: Notably, this is the first record that more songs than not are us doing gang vocals together. And it’s because in the time since we last recorded, these guys have both been lead vocalists and amazing performers. We were like, when we go back to doing this, we should definitely all be in the mix in a more significant way. It added a fun element where we can channel more of the influences that we have in classic hardcore punk. **How do you decide which political topics you want to cover?** Shiva Addanki: I write all of the lyrics, and I hadn’t written lyrics in a while. And I think a lot of the lag time was like, I don’t know if I have anything to say in the format of punk lyrics. But since the onset of total siege on Gaza in 2023 and the way that colonial war exposed larger circuits of oppression to the world activated a certain reflex back to communicating in punk lyrics: with clarity & urgency. We all pitched in to write Tower Seven lyrics, and that was fun and different. But in terms of me doing vocals and putting my voice to certain concerns, what we ended up writing about is just what immediately came to mind, and what felt true to us, and what I felt a sense of urgency about. I think we share values and sensibility enough that I’ve never been concerned. Joe Nelson: There’s no discussion of, “Oh, what should we talk about?” Whatever you bring to the table, we're always a hundred percent. Owen Deutsch: It’s also a continuation; certain things have always been present in Kaleidoscope lyrics. Like there’s a song that references rushes of dopamine, but it’s now come down to material conditions of the extraction of minerals. I think we’ve been accused of being a nerdy band, but I think we’re an angry band. We’re both. **That kind of goes into what my editor said when he was reviewing this album, which is you sound like people who were already politically aware and radicalized, but with each record, you just get angrier, and you just have more to say. Do you agree with that?** Shiva Addanki: Yeah, this is a band that started after a point of radicalization, and by protests that happened in response to Eric Garner and Michael Brown in late 2014\. I think when we started out, there was a sense of being more influenced by the going definition of what post-punk was, and trying to do something that breaks the monotony that punk might be falling into. I used to be more oblique and poetic, but it’s just been weathered down more and more because I don’t really want any errors around this. We moved more with our gut, and our trajectory has been harder, heavier, and simple. We can do it and it won’t be too worship-y. Owen Deutsch: Everything we try to do just sounds like us a little bit anyway. Joe Nelson: I think having the confidence of knowing that we sound the way we sound, no matter what we write, helped influence writing this record. And that reflects in your lyrics, too. Owen Deutsch: We started when you were in college, you’re looking at lyrics through a very academic lens, and now your lyrics reflect a lot of the visual art that you’ve been working on, and vice versa. Where you are in life, current events... we’re never at a loss for content. You watch the news and pick a fucking headline. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/06/a4027783143_10.jpg)](https://lavidaesunmus.bandcamp.com/album/cities-of-fear?ref=see-saw.fun) **Speaking of your art, Shiva, I’m curious to know more about the album art because it’s one of yours. What medium did you use?** Shiva Addanki: It's drawing and painting. In the years since we last put out a record, I got into painting, that’s what I do semi-professionally, and I teach art. I got more focused on translating this pretty similar type of imagery into full color and using painting. Owen Deutsch: I feel like the Easter egg about the art is that we had art years ago that had us three as zone explorers. It was a tape, and we did silhouettes. So the fact that there are three figures on the front is like this funny fact that we've been on the front as three shadowy figures before. Shiva Addanki: There was a willful embrace of that when I was when I was like trying to come up with imagery. The images originally came from insurrectionary protests that happened in Bangladesh last year that deposed the Awami League government. I draw and paint a lot from capitalist news media, so I know what I’m looking for in those images. And in this one, I was like, there’s three people in there, and I’m gonna make 'em silhouettes, and that’s gonna be the throughline. **What’s that symbol in the middle of the fire?** Joe Nelson: It’s an unofficial logo that Shiva came up with, the flower. Shiva Addanki: We all have it on us in some way. It developed a lot over the early years, like an eye inside a flower. But then it got abstracted to try to reference the Wretched logo. By the time [*After the Futures*](https://lavidaesunmus.bandcamp.com/album/after-the-futures-lp?ref=see-saw.fun) came around, the flower and the face were very Discharge and Wretched because that record had a lot more influence from those two bands. That kind of tracks with the thing we were talking about earlier, of how this sound has progressed. Aesthetically, too, we progress to be like how do we take all this range of input and compress it back into something that speaks to the tradition of political, self-produced, hardcore punk? **I really like the guest vocals that you brought on for “Utopia.” What was it like to add new collaborators to the mix?** Shiva Addanki: Having Tay \[of Taz\] on the record is cool because you have friends who’ve listened to our songs for so many years, and it just feels good to finally have the chance to be like, do you want to be involved? We’ve always actually tried to bring our close friends or interlocutors into the mix in some way. And this one, Taz, is like a sibling band to us in some ways, or has been over the years. Joe Nelson: I particularly like how her vocals sound like Taz in that song. It’s recognizable, and we love that band. Tay and Cody have been our good friends for a very long time, so emotionally, that’s a really nice part of the record. **Do you wanna talk about the different bands that are playing tonight? Some other people in your universe.** Owen Deutsch: Hysteric Polemix is an excellent band that takes the parts that we like about anarcho punk and feeds it through an emotional lens that we don't necessarily have. Joe Nelson: That’s a band that makes me cry when I see them. Owen Deutsch: We are huge fans of Mirage. One of the best New York bands. Joe Nelson: I feel a particular closeness with them because, for a long time, we always felt like the younger crowd. When they came in and were our age and also from the surrounding New York suburbs, we felt a kinship with them as the new crew. Shiva Addanki: We actually haven’t shared a bill with them yet, cause we have played so few and far between in the past five years. And then the same goes with Mirage, who are a great younger band just in terms of like, years existing. Their affinity for Italian hardcore we share, so it’s cool to hear that influence really come out. And then last but not least is No Knock, who are an amazing, true, crude early New York hardcore band. Owen Deutsch: I feel like all the bands present a different iteration of anger, which I like for this show. **I’m actually curious to know what your daughter thinks of the band?** Shiva Addanki: She thinks it’s funny. She was there when I was recording the vocals, and she'll do her imitation of “that’s when Baba goes blahhhhh.” She’s been around, and when we play outdoors, she’s seen us. Joe Nelson: You used to put on hardcore punk for her, and she’d dance around. Owen Deutsch: She’s aging out of punk at two, almost three years old. ![Kaleidoscope](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/06/IMG_9923.JPG) Kaleidoscope, photo by Sydney Salk **How do you feel going into a big show like tonight? Do you feed off the adrenaline?** Shiva Addanki: Oh, terrible. I fucking hate it. Joe Nelson: I love it. I’m the only one in the band who likes playing live. **You are rare, then.** Joe Nelson: Yeah. I hate every other aspect of the band, but they love the writing and the practicing. Owen Deutsch: At this point of being a band for 10 years, I hope that we do what we are supposed to do, which is play the songs well, cause we wrote them. There’s only one way to measure up what they’re supposed to be like, and we know what it’s supposed to be. So I hope that for ourselves we can meet it. But honestly, we’ve had shows where we practiced once and it’s fun. I hate playing live up until that one minute right before the show, and then I’m like, let’s do it. Especially when the drum set’s fucked up and there’s nothing on it. I love the feeling of *this is chaos, I was born right now*. Joe Nelson: There’s no pressure to actually perform well. I feel like energy is more important than actually playing well. So I’m not that concerned. It’s catharsis, and I need it. Owen Deutsch: My goal is not to play too fast. I always play too fast. We’ve been working hard on that. There’s something like when your blood quickens, like your heart quickens, your new normal for zero is now like 50 miles per hour. So what you think is slow is like Laurel and Hardy. Joe Nelson: We always play, and we’re like, yeah, that felt pretty good. And then we watch the video, and we’re like, oh, it was very fast. **What’s next for you guys? Touring, other projects, another album?** Owen Deutsch: We don’t really have touring on the docket, just shows every once in a while. But we’re patient. We haven't played in a year. Joe Nelson: We're trying to play in the UK. We’re trying to play in Richmond this summer. Yeah, that’s what we've been talking about. Shiva Addanki: We’ve been threatening each other to make more music. When we talk about other music to make, I feel like mid-period Ex. The Ex is something that I’ve started to come back to more, and be like, oh, it feels pretty related to us. Owen Deutsch: Just like rhythmic explorations. Political, rhythmic. But Japanese hardcore bands will be around for 30 years, and they'll put a record out every, like, five, 10 years or something. So we could just be like that. --- *If you enjoyed reading this, consider* [*subscribing to see/saw*](https://see-saw.fun/#/portal/)*.* ### punk this week: water machine, alienator, billiam, dávila 666 + 21 more URL: https://see-saw.fun/punk-this-week-water-machine-alienator-billiam-davila-666-21-more/ Last updated: 2025-06-20T16:04:36.000Z Hey, it’s Punk This Week, see/saw’s weekly survey of punk + rock'n'roll music. This week I finally found out about the new Alienator album, once again obsessed over a Billiam 7", took a stroll through *God Park* with Glasgow’s Water Machine, found out what Dávila 666 sound like in 2025, and got a brand new all-star [Dissidents compilation](https://thedissidents.bandcamp.com/album/olive-seeds-an-international-benefit-for-mutual-aid-in-gaza?ref=see-saw.fun) to benefit the people of Gaza. Do you want to read about all this stuff? The Punk This Week column is available every Friday to [paid see/saw subscribers](https://see-saw.fun/#/portal/) (who also get the radio archive and bonus podcasts). That’s $4/month, $40/year, or barter. Free subscribers get plenty of stuff, too, but there’s a two-week free trial if you want to try everything. The money mostly goes to pay punks for their work. I used to have a corporate music journalism job and now I have this: an art practice and love letter to loud music made by absolute fuckin’ weirdos. [Subscribe to see/saw](https://see-saw.fun/#/portal/), free or paid. It helps way more than I can convey here, plus you get good punk writing sent directly to your inbox. OK, go ahead and read the thing now. --- **Water Machine:** [***God Park***](https://watermachine.bandcamp.com/album/god-park?ref=see-saw.fun) **\[FatCat\]** Water Machine is a Glasgow-based indie rock outfit doing everything they can to light up the receptors in your brain that love pop music. You want beatific backing vocals and harmonies? Jangly-ass guitars? Handclaps and cowbell? You’ll hear all of it in the first track, but the best shit about *God Park* is how it builds across its run time. Listen to how the bass line that opens “River” buoys these gentle vocals right after the same singer bites your face off on “Hot Real Estate.” This is one of those bands that does so many things well, and somehow, they weave it all together with one cohesive voice. A deeply impressive record. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/06/a0861891636_10.jpg)](https://watermachine.bandcamp.com/album/god-park?ref=see-saw.fun) _This post is for paying subscribers only._ ### punk this week podcast 38: self improvement + panel URL: https://see-saw.fun/punk-this-week-podcast-38-self-improvement-panel/ Last updated: 2025-06-17T17:15:08.000Z ![audio-thumbnail](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/media/2025/06/punk-this-week38_mixdown_thumb.jpeg) punk this week 38: self improvement + panel 0:00 /3580.410125 1× [Punk This Week](https://see-saw.fun/tag/podcast/) *is see/saw’s weekly podcast from co-hosts Evan Minsker and Nina Corcoran—a discussion of the latest and greatest in the world of punk rock. We talk about six new punk records we’re loving from the past week.* In this episode of the pod, Evan and Nina gush about art punks, their parents’ No Kings protest signs, and beautiful music about dead pets. Discussed are the new ones by [Self Improvement](https://selfimprovement.bandcamp.com/album/syndrome?ref=see-saw.fun), [Panel](https://panelpanelbobanel.bandcamp.com/album/a-great-time-to-be-an-empath?ref=see-saw.fun), [Spirit Desire](https://fuckspiritdesire.bandcamp.com/track/dead-pets?ref=see-saw.fun), [DANA](https://danabandohio.bandcamp.com/album/clean-living?ref=see-saw.fun), [Violet Bloom](https://violetbloomhc.bandcamp.com/album/demo-2025?ref=see-saw.fun), and [Shrinkwrap Killers](https://shrinkwrapkillers.bandcamp.com/album/feed-the-clones-pt-2?ref=see-saw.fun). --- Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.fun). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/see%5Fsaw.fun/?ref=see-saw.fun), [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun), and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). Have a question you’d like to hear addressed on the show? Want to talk about a new record we didn’t discuss? Want to send a HARD PIVOT or NO AMERICANS bumper? Email us: [see-saw@see-saw.fun](mailto:see-saw@see-saw.fun) *Punk This Week* is made possible by see/saw subscribers; please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-37-lifeguard-k-u-t-e/#/portal/) if you enjoy this podcast. You’ll learn about way more punk records than we can pack into the podcast! ### playlist: punk is for the children URL: https://see-saw.fun/playlist-punk-is-for-the-children/ Last updated: 2025-06-16T19:37:36.000Z My child is two years and eight months old. We listen to a lot of music together, and naturally, he’s around a lot while I’m listening to punk records. Before I became a parent, I talked to a couple punk parents who didn’t really play this stuff for their kids. I figured it would be hard to avoid, and as it turns out, my little spud loved the punk records in my office. I had to take the Cherry Cheeks self-titled out of the sleeve due to my kid’s infantile fascination with its high contrast design. He kept grabbing it, bending it, and tearing at it. I have video somewhere of him boppin’ around to GEE TEE before he could fully crawl. Obviously, he’s a kid, so he also loves children’s music, the soundtracks to the Miyazaki movies he’s watched, the Beatles (specifically the Ringo songs), Hall & Oates, and the Pet Shop Boys. He’s a pretty high energy dude, so I made a playlist of high energy, (arguably) age appropriate punk music for when he wants to run around and dance and jump and get his ya-yas out. When it’s on, he’s pretty engaged with it, yelling the words to the Ramones’ “Rockaway Beach” and Delta 5’s “Mind Your Own Business.” He laughs maniacally, mirroring Hasil Adkins’ “No More Hot Dogs.” (Your parental mileage may vary with Hasil’s murderous intentions there, but the laughing is infectious.) He’s entranced with Peach Kelli Pop’s “Red Leather.” My thesis: There’s plenty of music from across the vast spectrum of punk that is perfect for kids. Here’s a 41-song YouTube playlist. --- **see/saw presents “punk is for the children”** The Raincoats: Fairytale in the Supermarket Ramones: Rockaway Beach The B-52’s: Private Idaho Itchy and the Nits: Dreamboat Cherry Cheeks: Trickin’ The Exploding Hearts: Thorns in Roses Peach Kelli Pop: Red Leather Delta 5: Mind Your Own Business Dead Kennedys: Moon Over Marin Hasil Adkins: No More Hot Dogs Blondie: In the Sun GEE TEE: Cell Damage The Go-Go’s: Our Lips Are Sealed The Undertones: Teenage Kicks Dead Moon: It’s O.K. Carbonas: Phone Booth 1-800-MIKEY: Digital Pet The Mo-Dettes: White Mice The Dirtbombs: Your Love Belongs Under a Rock Wipers: Return of the Rat Artificial Go: Circles T. Rex: The Slider Quintron: Ring the Alarm Tha Retail Simps: Wrong Direction The Replacements: I Will Dare Terry: 8 Girls The Damned: I Feel Alright Reigning Sound: Stormy Weather The #1s: Sharon Shouldn’t The Jam: In the City Boris the Sprinkler: (Do You Wanna) Grilled Cheese The Wiggles: Five Little Joeys Bugg Music: Bugg Season (Demo) Being Dead: Muriel’s Big Day Off Lùlù: Lùlù Smarts: Cling Wrap Jeff Rosenstock: Wave Goodnight to Me Eddy Current Suppression Ring: Swimming Hole The Linda Lindas: Racist Sexist Boy Pink Fairies: I Wish I Was a Girl Davila 666: Tu --- *see/saw is a reader-supported publication. Please consider a* [*subscription*](https://see-saw.fun/#/portal/)*, free or paid, and support independent music journalism.* ### punk this week: panel, self improvement, puffer + 18 more URL: https://see-saw.fun/punk-this-week-panel-self-improvement-puffer-18-more/ Last updated: 2025-06-14T03:34:01.000Z Hi there, it’s another installment of Punk This Week, see/saw’s weekly punk and rock’n’roll recommendations column. The debut of Minneapolis’ Panel is upon us, as are new ones from Self Improvement, PUFFER, the Bug Club, Pure Terror, Bloodshot Bill, Pyrex, Smart Shoppers, and so many others. With so many incredible records to hear and learn about, it’s another perfect week to subscribe to see/saw! Punk This Week, bonus podcasts, and the full see/saw radio archive are available to $4/month or $40/year paid subscribers (and [those who barter](https://see-saw.fun/bartering/) their way across the paywall). Free subscribers still have access to weekly offerings including interviews, podcasts, and new radio shows. [Please consider a subscription](https://see-saw.fun/punk-this-week-ty-day-residue-skull-cult-monda-15-more/#/portal/), free or paid, to help grow this reader-supported endeavor. --- **Panel:** [***A Great Time to Be an Empath***](https://panelpanelbobanel.bandcamp.com/album/a-great-time-to-be-an-empath?ref=see-saw.fun) **\[Don’t Sing/Anxious and Angry\]** Seeing Panel live at the Eagles in Minneapolis, “Victoria” and “Neurotica” instantly wormed their way into my brain. The assured howl from Annie Sparrows (Green/Blue, the Soviettes) mingled and harmonized with her bandmates Zac Mayeux and Kat Naden for these perfectly written hooks. But even after falling for the stripped-back solo demo of “Victoria” (released on the see/saw benefit compilation), my heart wasn’t prepared for “Two Little Dogs.” It’s intimate: Annie singing by her piano, dogs barking in the background, and some gentle multi-tracked closed-lipped harmonies. This is a record about a nervous breakdown—about the heavy shit you’ll never shake, the stuff that rocks you to your foundation when you’re living through it. As a band, Panel is a total mood ring, subtly shifting aesthetics from song to song but never sounding like they’re putting on a mask. They drift from vulnerable quiet to powerhouse full-band rock’n’roll, from scrappy garage punk to coolly speak-sung no wave. Writing songs through a crisis is inspiring, especially when the songs are unbelievable. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/06/a3300175235_10.jpg)](https://panelpanelbobanel.bandcamp.com/album/a-great-time-to-be-an-empath?ref=see-saw.fun) _This post is for paying subscribers only._ ### punk this week podcast 37: lifeguard + k u t e URL: https://see-saw.fun/punk-this-week-podcast-37-lifeguard-k-u-t-e/ Last updated: 2025-06-10T21:09:51.000Z ![audio-thumbnail](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/media/2025/06/punk-this-week37_mixdown_thumb.jpeg) punk this week 37: lifeguard + k u t e 0:00 /3550.694604 1× [Punk This Week](https://see-saw.fun/tag/podcast/) *is see/saw’s weekly podcast from co-hosts Evan Minsker and Nina Corcoran—a discussion of the latest and greatest in the world of punk rock. We talk about six new punk records we’re loving from the past week.* On a very special birthday episode of *Punk This Week*, we’re talking adults vs. teens laser tag, ice cream cake, *Valley Girl*, That Dog, the *Luigi’s Mansion* arcade edition, [System of a Down playing Brazil](https://www.instagram.com/reel/DJvJ7tcpIRc/?ref=see-saw.fun), and of course, six unstoppable new punk records. Discussed this time are [Lifeguard](https://lifeguardband100.bandcamp.com/album/ripped-and-torn?ref=see-saw.fun), [K U T E](https://neversleeplife.bandcamp.com/album/intrigue-fatigue?ref=see-saw.fun), [Tommy](https://tommympls.bandcamp.com/album/demo-2025?ref=see-saw.fun), [Frankie and the Witch Fingers](https://frankieandthewitchfingers.bandcamp.com/album/trash-classic?ref=see-saw.fun), [LÙLÙ](https://allocestlulu.bandcamp.com/album/l-l?ref=see-saw.fun), and [Sold Short](https://totalsupply.bandcamp.com/album/tsr-016-introducing?ref=see-saw.fun). --- Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.fun). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/see%5Fsaw.fun/?ref=see-saw.fun), [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun), and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). Have a question you’d like to hear addressed on the show? Want to talk about a new record we didn’t discuss? Want to send a HARD PIVOT or NO AMERICANS bumper? Email us: [see-saw@see-saw.fun](mailto:see-saw@see-saw.fun) *Punk This Week* is made possible by see/saw subscribers; please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-36-no-americans/#/portal/) if you enjoy this podcast. You’ll learn about way more punk records than we can pack into the podcast! ### pyrex think concept albums should be reserved for prog bands URL: https://see-saw.fun/pyrex-think-concept-albums-should-be-reserved-for-prog-bands/ Last updated: 2025-06-09T16:43:10.000Z “Pummeling” is the only appropriate word for [Pyrex](https://www.instagram.com/pyrex.nyc/?hl=en&ref=see-saw.fun). Listening to their music at full volume—again, the only appropriate way—feels like getting kicked in the stomach. Attending one of their blistering live shows is akin to, as vocalist Joe Hardwick shouts on *Body* standout “Vertebrae,” getting “rocked with a shovel.” [*Body*](https://totalpunkrecords.bandcamp.com/album/body-2?ref=see-saw.fun) (their newest album, released in March on the vaunted [Total Punk Records](https://totalpunkrecords.bandcamp.com/merch?ref=see-saw.fun)), plays like 16 minutes of fists flying at you from every direction. And what’s really more punk than a 16-minute LP that sort of feels like getting jumped? Following 2023’s self-titled debut and a slew of seven-inch singles, *Body* is the culmination of years of alchemy, striving to blend hyper-rhythmic hardcore with pitch-black post-punk (back when that term actually had a discernible aesthetic). Hardwick plays guitar like he’s punching the shit out of a speed bag and shreds his throat with a purely primal shout. The rhythm section of bassist Graham Arbon Elrich and drummer Steven Fisher strike an ideal balance of heft and precision. Their ability to switch from a mid-tempo stomp to a double-time crunch is the musical equivalent of Swiss engineering. Their new 7” [*Slugman*](https://lavidaesunmus.bandcamp.com/album/slugman?ref=see-saw.fun) is out Friday from La Vida Es Un Mus Discos. The album is also the product of spending a little more time on the songs to get them closer to the band’s initial vision for them. “That was very much intentional,” says Hardwick of the process. “ The first LP, I think we did that in three days and they were three very long days, you know, starting at the morning and going until 3am or later sometimes. But this one, I believe we wanted to take our time to really focus on tone and, just like—I don't know, it sounds silly to say or redundant, but—make the best record we possibly could.” After a recent rehearsal, with blood and adrenaline pumping from fine-tuning their songs, the members of Pyrex set up a laptop in their practice space so all three of them could participate in our interview. We spoke about the trio’s formation, their creative evolution, how *Body* was an important part of that evolution, and much more. --- ![Pyrex, photo by Zache Davis](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/06/photo_by_zache_davis-38.jpg) Pyrex, photo by Zache Davis **Here’s something I've always wanted to know: Why did you choose the name Pyrex? Because I’m used to hearing the name Pyrex associated with rappers, and learning there was a punk band named Pyrex is what piqued my attention.** Graham Arbon Elrich: I would say pretty much the same. Yeah. Joe and I both grew up in Atlanta. Fisher actually came up with it. We were sitting around, I wanted to call the band Lexicon. Steven Fisher: We were just like spitballing names, sitting around at a friend's house. There were like ten of us there that night. I think just hanging out and just \[saying\] whatever \[name\] came to our minds, spitballing—and I said Pyrex, 'cause Pyrex is, it's just like a cool word. It's got all the cool letters in it. Very, um, but immediately I was like, no, maybe not. And I wasn’t aware of— Graham: Immediately, Joe and I were like, *“Fuck yeah.”* Joe Hardwick: We both were in high school during like the early \[2000s\] when Gucci Mane and Young Jeezy and T.I. were starting to take over the Atlanta rap scene. **Tell me about the Atlanta punk scene around the time when the two of you were out there going to shows and stuff.** Graham: Fucking awesome. Really good time to grow up. Joe: I first started stepping into that world \[in my\] late teens, early twenties—it’s a golden era of Atlanta punk. I feel like every night of the week there was a great show going on and once I was about 20 or so, I started to participate myself and started my first band. That's how Graham and I met; back in 2010 or ‘11 maybe. Graham: The first time I was around Joe, if I remember correctly, maybe we had been around each other like once or twice before, but I think it was like my 18th birthday, like Joe had this house show with the band Wild Thing from the Bay. It was just on after that. I had a band with these two brothers and their cousin was in a band with Joe. So we played small shows together, but to speak more about the Atlanta scene and less about us, at that point, GG King was getting fired up and Brian Bell started Scavenger of Death Records, and all that stuff is still all my favorite stuff. I still listen to it all the time. Joe: Predator was a huge one for me. That was my favorite punk band in Atlanta. And then, \[when\] I was like 22, I got to be in that band briefly. I felt like Marky Mark in the movie *Rockstar*, like it was crazy to me with you guys. We reconnected when I moved to New York in 2018\. That's how I met Fisher. \[He and Graham\] were friends, and \[Graham\] lived here for a number of years before I moved up here. Graham: We bartended in the same neighborhood, like a block away from each other. You know how bartenders hang out after work and they have booze at the bar that they worked at? So I'd always go and like run down with cans of beer and be like “lemme get some shots” and trade. **Was there a specific sound that you were all going for at the beginning as Pyrex? Did you have an idea of what you wanted this band to sound like before you actually got into a room and started playing?** Joe: Well, initially I think I was leaning more towards the gothy, post-punk sound \[for\] some of the original Pyrex tunes. I went into it with the intention of it being tough, yet accessible, I guess. Like, tough post-punk with pop sensibility. I feel like even the angriest, toughest punk bands in the world, my favorite ones have riffs or hooks that will just stick in your head because it's inherently catchy regardless of how distorted or angry it might seem. And so that was always something I was conscious of and trying to bring to fruition, I guess. Fisher: I grew up listening to a lot of Australian post-punk, noise rock, grungy kind of stuff. And I always was a big fan of British bands like Wire and the Fall, \[bands with\] a lot of really in-the-pocket drums with out-there guitar. I think that's probably what drew me to Pyrex when we started playing together; why I enjoyed it so much. 'Cause it was like a nice mix. And as a drummer I also like playing fast stuff too, so it's being in a band where you get to mix slower stuff in the pocket with weird guitars and drum and bass locked in. And then also you get to go a bit nuts sometimes as well. Like that balance between post-punk and proper punk and hardcore stuff. I think it's, rather than just being pigeonholed down one path, it's good to be able to like hop back and forward, right? Joe: I’m not sure if I’ve ever hit this mark, but \[the ideal vibe is\] Bauhaus meets Poison Idea. **Oh, I love that.** Joe: \[I was\] probably leaning more towards the Bauhaus side of things initially. Now we've gone the other way into the tougher stuff, but \[it\] still has some of that ethereal creepy menace behind it. **Not a lot of bands use the singles format to their advantage nowadays, at least at least compared to back in the day. What is your approach: Is it to try new ideas or do you have self-contained ideas that only work in the 7” format?** Joe: It was partially happenstance because this was like “these two songs,” or “these three songs,” or however many, were written close together in time, and so the five of them are similar. And whether that's intentional or not, I can't really say. I don't consciously think about that stuff, but if we have a group of songs that are cohesive and have a \[conversation\] with one another, I think that's subconsciously why they will just be a three-song seven-inch. Fisher: It is important not to be too precious about what you pick and choose. I really like the idea of writing 15 songs and releasing 10 of 'em. \[The process is ideally to\] write eight songs, do a record, write four songs, do an EP just, keep it going. It helps for continuity’s sake, too. Graham: I also just love 7-inches as a format, like massive fan. It seems like less and less labels want to do them for just like practical, financial reasons. I think there's less plants that are making them, it seems—and it does suck that it's not as cheap as it used to be, 'cause 7-inches cost like $12 \[retail\] now. But we try to keep it, we try to keep it a dollar an inch. I think that's a good match. We did “Touch” \[b/w\] “Conditioner,” our first single, but those songs \[are ones\] we re-recorded and put on the first LP. And I think GG King would do several versions on different releases. I think that used to be a lot more common than music in general. **You spoke of the self-titled album. Looking back on that, what are you most proud of and what are some of the things you wish you could change, if anything?** Joe: I can't speak for the three of us, but personally—yeah, hindsight's 20/20, but maybe I would've sat with it for a little bit longer. 'Cause there are certain songs that are a bit of a head-scratcher compared to others. I still like all the songs, but I think that we were more just gassed up about being a band and putting things out. And so we were like, “We got our record’s worth of stuff. Let's just do it.” Graham: I describe that record sometimes as “the first eight songs we wrote.” Fisher: I do think it's a cool album. Like it's a good representation of early us. I would say the new record feels more fully formed, but I do really like the first record. There was no overthinking it or whatever. We just wrote the songs and put 'em out and I think that's like what we were saying about the 7”. That's the whole point, at least personally \[for me\], it's: “Make music, release music.” That's the fun part. It's like, you can look back on it and be proud of it, or you can look back on it and regret it, but I wouldn't change having done it. **Is that the biggest difference between the self-titled album and *Body*? That you felt like you had more time to write these songs? To just stay on them and tweak them a little bit if you need to?** Joe: The biggest difference is with the second record, it was more of a conscious decision to lean into the tougher side of our sound. After I'd come up with the skeleton again, the first few songs on that record, we sensed a similar sound between them and just tried to keep going down that road deliberately as opposed to, “Okay, I got a new idea for a song and this is it.” It was more trying to tie the whole composition together. Fisher: A couple of the titles, before the idea of *Body* existed, just happened naturally. A couple of the titles—we were all just talking about it one day. “Vertebrae” was the first one. Joe: And “Face Off” came second. Fisher: There was like a conversation around cones, but I don't think “Cones” was named cones because of like rods and cones in your eye, but we bent it that way. Joe: Yeah, that one was a bit of a stretch, but it works. \[*laughter*\] There was definitely some lyric-tweaking in the studio \[because\] we can't just have seven of these \[songs\] reference anatomy. I think the idea of a concept album should be like, reserved for prog bands, so I wouldn't put that label on it, but it speaks to the whole motif in that product. It helps to glue the composition together. Graham: I think \[Total Punk founder\] Rich \[Evans\] did a pretty good job describing it. “A 16-minute crash course on Human Anatomy led by Jeffrey Dahmer.” Joe: When I was in high school, I took an anatomy course my freshman year of high school, we went to the *Bodies* exhibit. Which was like a traveling anatomy/science museum exhibit in like 2004 or ‘05\. That poster of the bisected body with like the muscle tissue and all that on one side and the skeletal stuff on \[the other\] definitely was the inspiration for the art. Once we had three or four of these songs written and the titles as such, it just fell together that way naturally. **Tell me about recording *Body*. Where did you record it? How long did it take? What was the process for you all emotionally?** Joe: We recorded it at Daisy Chain Studios. A good friend Ian Rose runs Daisy Chain in Sunset Park. We recorded the first LP there, as well as a handful of other tracks. But this time around, we set out to not rush ourselves. It was a whole week and then I came back for some vocal \[over\]dubs even after the fact. Fisher: We trust \[Ian\] and he is really good at what he does. So he had some ideas around like production stuff that he wanted to try out and you can't really tell, but there's some auxiliary stuff in there, like the weird percussion things. At one point I was playing a steel chair with some mallets and like you can hear it in “Reflex.” \[You can hear us\] whacking \[stuff\] on the stairwell banister, and metal chains. Graham: I think \[our\] first LP was like the first thing he reported at his studio. Once he got it set up. Joe: Yeah, I remember the first \[day\] we had to go out, like day one, we were all just miserable 'cause it was summertime and there wasn't really any air conditioning to speak of. And this is a 50-plus-year-old building. But the second day we had to go to Lowe’s, you get like an air conditioning unit. It took up a bit of our afternoon, so it was crunch time when we got back. **Both of your full-lengths were released through Total Punk. What made you all want to stick with Rich for the release of *Body*?** Fisher: He was like really into it, and Graham always says that it's it's good to work with people that wanna work with you. And I think that's very true. And putting two records out on the same label also—there's some value in that. I think that you're not just bopping around all the time. I've known Rich for a long time. He has always been a good dude and \[is\] committed to putting out good music and works hard to support the greater music community in that way. Graham: All those stamped \[records\] and stuff. I've got boxes of 7-inches that are, you don't see 'em as much as you see the ones on the shelves, but like I was going through my 7-inches one time, I was like, oh my God, I have so many fucking Total Punk releases from those days. Because you'd see ‘em \[while\] flipping through records and I just automatically just pull them out. Maybe \[I didn’t\] know who they were necessarily, but I \[was\] like, “Yeah, it's Total Punk. It's gonna be good.” **Two of my favorite bands, Pyrex and Tyvek, still standing. Still got their names strong. \[*laughter*\] Have you gotten any cease-and-desists?** Fisher: Still waiting on that? They would fucking never, I think there’s something going on with the company. I think they filed bankruptcy at some point. They’ve got bigger fish to fry at the moment. Graham: There’s a producer or a rapper that releases stuff under \[the name\] Pyrex, but I feel like he’s much more commercial. So if he’s fine, we’re fine. ### punk this week: lùlù, lifeguard, idle ray, tommy + 20 more URL: https://see-saw.fun/punk-this-week-lulu-lifeguard-idle-ray-tommy-20-more/ Last updated: 2025-06-06T22:12:59.000Z Hey, it’s Punk This Week, see/saw’s Friday column collecting the best punk and rock'n'roll records to grace speakers all over the planet. This time we’ve got some expert power pop from France, a phenomenal Minneapolis punk scene debut, plus new ones from Lifeguard, Idle Ray, Frankie and the Witch Fingers, and a whole batch of exceptional DIY pop releases. There’s wild hardcore and killer art punk, too. There’s seriously some incredible new records that you absolutely must check out. To access Punk This Week this time and every time, you’ve [got to sign up](https://see-saw.fun/punk-this-week-stress-positions-artificial-go-the-gotobeds-15-more/#/portal/) for $4/month or $40/year. There’s a two-week free trial if you want to try it out. That said, most of the stuff you get on this website is free. I try to keep the cost low, and honestly, I throw the majority of the money back to the punk community—to artists, writers, labels, etc. Since this thing is fully independent and has no backing investors or anything, [subscribing to see/saw](https://see-saw.fun/punk-this-week-stress-positions-artificial-go-the-gotobeds-15-more/#/portal/)—free or paid—is a massive help. --- **LÙLÙ:** [***LÙLÙ***](https://allocestlulu.bandcamp.com/album/l-l?ref=see-saw.fun) **\[Howlin' Banana/Dangerhouse/Taken by Surprise\]** This band from Marseilles and Lyon have songs in Italian and French, a power pop project that packs ’70s glam and hard rock swagger. The songs on *LÙLÙ* by LÙLÙ are beyond catchy, perhaps none more than “LÙLÙ.” The approach feels classic, with elated gang vocals, tearjerker ballads, steady cowbell, and a few left field surprises, like the math-y nature of some of these guitar leads. The record finds this great balance between its beefy and twee instincts. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/06/a0435185277_10.jpg)](https://allocestlulu.bandcamp.com/album/l-l?ref=see-saw.fun) --- _This post is for paying subscribers only._ ### punk this week podcast 36: no americans URL: https://see-saw.fun/punk-this-week-podcast-36-no-americans/ Last updated: 2025-06-03T14:20:44.000Z ![audio-thumbnail](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/media/2025/06/punk-this-week36_mixdown_thumb.jpg) punk this week podcast 36: no americans 0:00 /3445.608 1× [Punk This Week](https://see-saw.fun/tag/podcast/) *is see/saw’s weekly podcast from co-hosts Evan Minsker and Nina Corcoran—a discussion of the latest and greatest in the world of punk rock. We talk about six new punk records we’re loving from the past week.* In this episode of *Punk This Week*, Evan and Nina celebrate America’s downfall with an episode featuring zero U.S. artists. Stick around to the end to hear the world premiere of the “No Americans” bumper. In addition to new records from [EYE BALL](https://eye-ball-eye-ball.bandcamp.com/album/gull-songs?ref=see-saw.fun), [悶煮悶MENGZHUMENG](https://mengzhumeng.bandcamp.com/album/social-reintegration-demo-3?ref=see-saw.fun), [Autobahns, Elvis 2](https://goodbyeboozydigital.bandcamp.com/album/autobahns-elvis-ii-split?ref=see-saw.fun), [dogwhistle](https://dogwhistlehc.bandcamp.com/album/textile-waste?ref=see-saw.fun), [Good Ramen](https://goodramen.bandcamp.com/album/gem-based-magicks?ref=see-saw.fun), and [Great Deal](https://greatdeal.bandcamp.com/album/n-a?ref=see-saw.fun), topics discussed include our hosts’ average popcorn intake volume, the Kirby and Cookie Monster methods, Goodbye Boozy’s big week, and radio DJs doing the *Crazy Taxi* voice. --- Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.fun). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/see%5Fsaw.fun/?ref=see-saw.fun), [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun), and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). Have a question you’d like to hear addressed on the show? Want to talk about a new record we didn’t discuss? Want to send a HARD PIVOT or NO AMERICANS bumper? Email us: [see-saw@see-saw.fun](mailto:see-saw@see-saw.fun) *Punk This Week* is made possible by see/saw subscribers; please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-35-mspaint-sexfaces/#/portal/) if you enjoy this podcast. You’ll learn about way more punk records than we can pack into the podcast! ### g.i. jinx emerge from montreal’s “cesspool of artists” URL: https://see-saw.fun/g-i-jinx-emerge-from-montreals-cesspool-of-artists/ Last updated: 2025-06-02T14:06:10.000Z I’d just watched the video for G.I. Jinx’s teaser single “Sewer Prince.” It’s a sort of low-tech, white-collar nightmare set in downtown Montreal that mixes slapstick with body horror. It starts out pretty normal with the band members decked out in office attire, briefcases, and cellphones but as the video develops, they get increasingly deformed and ruined. By the end the band’s sprawled out in the depths of the Metro disassociating, spewing, and otherwise bonking out before the whole thing devolves into a jam. So I was all the more stoked to connect on a video call with Anna, Felix, and Steve from the band. We made small talk about the Fall and mutual friends/ex-bandmates before getting into their album [*Mind Freak*](https://gijinx.bandcamp.com/album/mind-freak?ref=see-saw.fun) (out now on Celluloid Lunch and the recently resurrected Psychic Handshake label). G.I. Jinx bring a triple guitar psych and sludge assault with some gnarly garage overtones. It’s punishingly in the red and it bears traces of their shared mid-’00s Montreal noise roots. --- **How did this band come together?** Steve Peavy: Félix and I reached out to Carlo Della Motta in 2019... actually there were a bunch of different people in the band back then too. When COVID hit things just fell apart, then we started it back up, was it in 2021? Around then we reached out to Michael Farsky for bass and we started playing the songs in a couple of practice spaces, one in Saint-Henri at the Fattal Lofts, and then the Crumper in Outremont. We cemented eight songs before Anna joined the band in 2023\. When we were recording the album I think, Anna, you would have been in the band for six months at that point? Anna Arrobas: Yeah, basically Élie, who co-wrote two of the songs... I was in a band with him called Security before and I was always a fan of No Negative—Steve, Carlo and Félix 's previous project, I knew this band had existed for a long time and I thought if they ever needed a singer I wanted to be the singer. **I can hear G.I. Jinx’s resemblance to No Negative for sure.** Félix Morel: Just to add a bit of context, me and Steve jammed as a duo for a while and then we had to have Carlo in the band because we had fun playing with him in No Negative. The other musicians at that time were bassist Élie Bérard-Faubert, Stuart Mitchell on guitar, and Marie Davidson on vocals. The pandemic put a stop to that early lineup. When it was safe enough to regroup and play, all three had to focus on other projects. We were back to square one and needed a bassist and a singer. We were playing this aggressive, macho music, so we wanted someone to balance it out and not be super cliché and stuff. Elie suggested Anna and I was like, “duh of course it will be a perfect match, why didn’t we think of her sooner!” Most of the music was written already when Anna joined. Steve: Yeah, we had some demos at that point. I think we were just like finishing up one or two songs. **It’s funny because on first listen, my impression was this is a band where the band members are into different stuff.** Anna: I think it’s pretty diverse. Steve: I would agree. Félix: We wanted something that was not easy to pinpoint. We’re not trying to be experimental or anything, but we’re trying to not sound too specific. **Yeah, not a genre exercise. For example, I don't hear a lot of metal.** Steve: Yeah, some of us are into metal but the degree varies between members. I’m really into how it wasn’t so defined in the beginning. And we've had talks about how we are influenced by Black Sabbath, like the genius of Bill Ward, and of course the riffs. Félix: I don't think metal is a big influence, but it’s there. We’re more influenced by punk or hardcore bands who were influenced by it than proper metal, per se. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/06/IMG_0131-6.jpg) G.I. Jinx, photo courtesy the artists **Was starting the record with the sound of rain a reference to Black Sabbath?** Steve: Totally. Carlo didn’t want that at all. Félix: I kind of pushed for that. Anna: It was four against one. Félix: Yeah, because in that opening song “Sewer Prince,” there's a little funky break we call the Sabbath part and we were toying with the idea of putting in a cowbell like in “The Wizard.” There’s just one cowbell hit in the song and it sounds like a mistake but they kept it in because it’s too perfect. I couldn't achieve that one cowbell hit perfection so we skipped that idea. **Montreal feels to me like it has a real identity as a scene compared with Toronto. Maybe it’s just because I live here, but do you feel being based in this place is an important part of your band?** Steve: I don’t think we would exist in any other city. Not to say that we’re special but… Anna: Yeah, it’s definitely a great city to live in as an artist. I feel like I’m constantly surrounded by tons of different musicians. I guess every couple of years a venue shuts down but a bunch of new ones have popped up and people are opening up their jam spaces. The Crumper, where we used to jam, is now a music venue where we’re going to have our release show. It’s just a really easy city to live in and be a musician. You could be walking down the street and there will be shows all summer long at the underpass and the cops don’t give a shit. It’s kind of crazy. It’s like a cesspool of artists. **I was talking about the difference between the two cities to a friend in a band who said, in Toronto we have to kind of force this music and creativity to happen, but in Montreal, it happens organically.** Félix: It's because of the French people. I’m joking. Steve: Maybe cheaper rents allowed for time to explore creativity and the communal escapism was less informed by the necessity of working 40 hours a week? But rents aren't that cheap anymore. A watershed moment for me was Cool Fest '07\. It was this big community building thing that made me feel connected to the other weirdos making music in the city. It was through the surrounding scenes of noise and proto weird punk where we all played shows together but in different projects. Carlo ran a label called Pasalymany Tapes around this time, and put out a lot of bands that participated in those scenes. **Music that was more far out than, say, the no wave revival of around that time?** Félix: Maybe. It was a bit related sometimes, like my free rock/psych band Panopticon Eyelids, we were in the same practice space as AIDS Wolf, which I guess is the big no wave revival band from Montreal. We played many shows with them. Carlo put out their first tape on his label. We used to call it the noise scene but it was pretty diverse. A five band bill would have a great range of styles and sounds. Michael was even in a karaoke style party band called Homosexual Cops that put on crazy live shows where people would get naked. **Anna, you mentioned the outdoor concerts, I was wondering if that's a recent development post-COVID or was that always a thing in Montreal?** Anna: How long ago did those shows at the underpass start happening? Steve: I think during COVID was when it started to happen more. Félix: There used to be some sponsored block parties in the past, but they were more like hip hop or DJ type events Anna: Now that I’m thinking about it, that whole area in the Mile-End they would do Marché Des Possibles, which is part of Pop Montreal and Suoni fest, had this area called entrepôt 77 for outdoor shows, but there’s a lot of DIY stuff too. Félix: During the pandemic I saw two hardcore punk shows in Hochelaga in a place we call the Wasteland. It’s near the abandoned train tracks. They’d just bring a generator, plug in and play. It was super fun. **How did you connect with Joe from Celluloid Lunch?** Félix: I am trying to remember how we met. I guess it was from buying the records and fanzines he put out. Steve: He was bugging you, asking, “What’s the status of the band?” Félix: Yeah, right! He was a fan of No Negative. Also, we both work in the Constellation Records/Hotel2Tango building and when we bumped into each other he kept inquiring about that new project I had. He even offered us an opening spot for the Puppet Wipes show he was promoting, but we didn’t have a band name yet. It took us so long to find one. Eventually he heard recordings and was down to release an album. **And it’s a split release?** Félix: Yeah, our friend Graeme Langdon with his old label Psychic Handshake Recordings—he was super involved in the mid-2000s Montreal weird punk era, if you know what I mean? They were putting out records including the first No Negative LP, booking tons of shows as the Pirates of the Lachine Canal, and just helping out a lot in the indie and punk scene in Montreal. Graeme eventually moved to Kingston for a teaching job but recently came back to Montreal wanting to relaunch the label. He told Carlo about it and the collaboration between the two labels just made sense. They both mutually respect each other’s work and have the same sort of aesthetics. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/06/a4073781950_10.jpg)](https://gijinx.bandcamp.com/album/mind-freak?ref=see-saw.fun) **I’ve noticed more music fanzines lately and saw that WFMU is starting to publish their zine *LCD* again. I wondered if you noticed a similar desire for older, non-computer based ways to learn about music?** Steve: It feels like people are suspicious of the companies who control the accessibility to music. I really connected with the resurgence of tapes in the early-mid 2000s. Since then they’ve really solidified their place as a respectable form of media. People are even talking about CDs again! Personally, I don’t really use Spotify or other platforms to search out new bands or music. It’s more from directly talking to people. Anna: Yeah, me too. Mostly from friends or bandmates recommending music to me or going to see a show and you’re only there for the headliner, but then the opening act actually ends up being sick or something like that. **That’s the best when that happens.** Anna: I don’t see a lot of zines and stuff, but I know that we’re going to be on some kind of compilation that a zine is going to be made for, so that’s cool. Félix: Celluloid Lunch is also a paper zine. I have two issues. **You mentioned your release show, any other plans to promote the record?** Félix: Our release show is on June 7 at the Crumper in Montreal, and we have a couple of things in the bag, but I don't know if we're allowed to talk about them yet. Anna: Well, we made a crazy mutant body horror music video to promote the record, we’re gonna play some shows, we also have another demo on a Celluloid Lunch compilation that will come out soon. We don’t have any crazy guerilla marketing tactics. Maybe we should. We talked about making G.I. Jinx toilet paper at some point. Félix: Yeah, because Michael works at a company that makes merchandise for bands and we were asking him what was the craziest thing he’s ever done and he had a band wanting toilet paper. Steve: Or urinal pucks. --- *Chris Landry plays in the Toronto band* [*Zero Bars*](https://zerobars.bandcamp.com/album/life-and-hell?ref=see-saw.fun)*. His zine is called* [Rate of Decay](https://www.instagram.com/rateofdecayzine/?ref=see-saw.fun)*.* ### punk this week: nympho, autobahns, ty segall + 19 more URL: https://see-saw.fun/punk-this-week-nympho-autobahns-ty-segall-19-more/ Last updated: 2025-05-30T21:32:52.000Z Welcome back to Punk This Week, see/saw’s weekly breakdown of the best new punk + rock'n'roll records. This week sees the release of the new Ty Segall album, some outstanding queer punk outings from Nympho and Egg Girl Girl, the latest from CLAMM, and so much more. Goodbye Boozy’s drops include the Autobahns and Elvis 2 split & a collaboration between Busted Head Racket and Billiam. The new Amex tape melted my face clean off. If you want to read about all that stuff and have a pile of punk writing and recommendations delivered to your inbox every week, you’ve got to [subscribe to see/saw](https://see-saw.fun/#/portal/) for $4/month or $40/year (with a two-week free trial). There’s a free subscription too, but paying money gets you the bonus podcast [*see/saw jukebox*](https://see-saw.fun/see-saw-jukebox-02-natalie-hoffmann-optic-sink-nots/) and the [see/saw radio](https://see-saw.fun/see-saw-radio/) archive. Your dollars support a completely independent endeavor devoid of investors or corporate backing. I really pour myself into these columns, so thanks so much for subscribing and reading. Enough business, enjoy the column. --- **Nympho:** [***Honk If You’re Horny***](https://nymphoxoxo.bandcamp.com/album/honk-if-youre-horny?ref=see-saw.fun) **\[Get Better\]** Philadelphia “poppers punks” (see what they did there) Nympho are a band featuring members of Empath and Perfect Pussy. Most crucially, they fucking rip. This is lead-footed rock’n’roll caked in lip gloss and dirt. As the cover suggests, these are horned up, bare-assed, leather-donning chain punks. Everything hits as hard as possible and the hooks are phenomenal. By the time this thing is over—which is fast, because it’s six songs that run between one or two minutes—I’m desperate for more. (Honk?) [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/05/a1852612738_10.jpg)](https://nymphoxoxo.bandcamp.com/album/honk-if-youre-horny?ref=see-saw.fun) _This post is for paying subscribers only._ ### see/saw jukebox: natalie hoffmann (optic sink, nots) URL: https://see-saw.fun/see-saw-jukebox-02-natalie-hoffmann-optic-sink-nots/ Last updated: 2026-06-04T22:12:28.000Z *see/saw jukebox* is a new monthly bonus podcast from *Punk This Week* hosts Nina Corcoran and Evan Minsker, available exclusively to [paid see/saw subscribers](https://see-saw.fun/see-saw-jukebox-01-dan-ozzi/#/portal/)! (It’s $4/month to support some independent punk reporting + there’s a two-week free trial.) In each episode, Nina and Evan are joined by a guest, and all three pick a perfect punk record to add to the idyllic punk jukebox of their mind. We’re back with a second episode, and this time, we’re welcoming Memphis punk, post-punk, and synth punk hero Natalie Hoffmann of [Optic Sink](https://opticsink.bandcamp.com/?ref=see-saw.fun) and [Nots](https://nots.bandcamp.com/?ref=see-saw.fun). Last year marked the 10th anniversary of Nots’ debut album *We Are Nots*, and Optic Sink recently finished recording their next album down in Lawrence, Kansas with Sweeping Promises. Where’s Natalie’s mind jukebox? Did Nots feel like they were playing for Andy Warhol when they recorded while watching a live feed broadcasting from his gravesite? What’s getting added this time around? [Subscribe to see/saw](https://see-saw.fun/see-saw-jukebox-01-dan-ozzi/#/portal/) and listen below! _This post is for paying subscribers only._ ### punk this week podcast 35: mspaint + sexfaces URL: https://see-saw.fun/punk-this-week-podcast-35-mspaint-sexfaces/ Last updated: 2025-05-27T15:11:53.000Z ![audio-thumbnail](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/media/2025/05/punk-this-week35_mixdown_thumb.jpeg) punk this week 35: mspaint + sexfaces 0:00 /3501.216 1× [Punk This Week](https://see-saw.fun/tag/podcast/) *is see/saw’s weekly podcast from co-hosts Evan Minsker and Nina Corcoran—a discussion of the latest and greatest in the world of punk rock. We talk about six new punk records we’re loving from the past week.* We spend a good chunk of time talking about some now-removed seafood mousse artwork (which you can [see here](https://vintagerecipecards.com/2012/08/16/seafood-mousse/?ref=see-saw.fun) and [here](https://vagabond-dogs.bandcamp.com/album/seafood-mousse?ref=see-saw.fun) for reference) and have to stop ourselves from going long on *Ink Master*. We discuss the new ones from [MSPAINT](https://convulserecords.bandcamp.com/album/no-separation?ref=see-saw.fun), [SEXFACES](https://sexfacesdc.bandcamp.com/album/sexfaces-bad-vibes-ost-lp?ref=see-saw.fun), [Loretta](https://lorettalorettaloretta.bandcamp.com/album/seafood-mousse?ref=see-saw.fun), [Science Man](https://scienceman.bandcamp.com/album/monarch-joy?ref=see-saw.fun), [Sister Agnes](https://cnelsonlifson.bandcamp.com/album/faith-hope-and-chastity?ref=see-saw.fun), and [Saps](https://sapsnoise.bandcamp.com/album/dont?ref=see-saw.fun). Shout out [Martin Douglas](https://www.instagram.com/theedouglasmartini/?hl=en&ref=see-saw.fun) and [Nina’s MSPAINT review](https://pitchfork.com/reviews/albums/mspaint-no-separation-ep/?ref=see-saw.fun)! --- Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.fun). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/see%5Fsaw.fun/?ref=see-saw.fun), [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun), and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). Have a question you’d like to hear addressed on the show? Want to talk about a new record we didn’t discuss? Want to send a HARD PIVOT or NO AMERICANS bumper? Email us: [see-saw@see-saw.fun](mailto:see-saw@see-saw.fun) *Punk This Week* is made possible by see/saw subscribers; please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-34-artificial-go-stress-positions/#/portal/) if you enjoy this podcast. You’ll learn about way more punk records than we can pack into the podcast! ### t.a.c.k., the new orleans trash can punks who love fishing dads URL: https://see-saw.fun/tack-on-fishing-and-father-figures/ Last updated: 2025-05-26T19:45:11.000Z *Boom - chuck - boom - chuck.* That’s the sound that my dad’s beat up old station wagon makes on the days that it feels like starting up. “Boom - chuck - boom - chuck” is also how [T.A.C.K.](https://tacktack.bandcamp.com/album/tackle?ref=see-saw.fun) guitarist Roach describes the simple beat that drives almost all of the New Orleans duo’s songs. T.A.C.K.’s rotary phone microphones and a trash can lid placed tactfully on top of a snare drum add a similarly endearing grit to the duo’s mixture of country twang and primal weirdo punk. Neither of T.A.C.K.’s members originate from the New Orleans area, but the two musicians have found father figures and new identities here. Roach and drummer Stella, real names redacted, have adopted personas inspired heavily by the local dads who love fishing after a hard week. Most shows feature the two members performing in old trucker hats with built-in sunglasses; their shirts brandish bold statements like “I fought the lawn and the lawn won.” Behind these characters’ humorous image is a minimalistic boot-stomping sound that pairs well with lyrics ranging from fun road trip adventures (“SHOTGUN”) to mental health crises (“REPAIR MAN”). T.A.C.K. bang out eleven songs on their first full-length [*TACKLE*](https://tacktack.bandcamp.com/album/tackle?ref=see-saw.fun). Roach and Stella pack the album’s 17-minute run time tight with jagged baritone guitar, trashy drums, and plenty of shouted vocals. The band’s sound is far heavier than the local country scene that initially brought the duo together. Simultaneously, their nonconformist execution positions them closer to the fathers of many disgruntled youths than uniform-adorning punk purists. Over coffee, Roach and Stella opened up about finding each other, adopting new personas, and the logistics of filming a music video on a moving truck speeding down the highway. --- ![T.A.C.K. performing at Chicago’s Mustache Cafe in 2025, photo by Jason Peterson](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/05/Jason-Peterson--Mustache-Cafe--Chicago--IL--2025.jpeg) T.A.C.K. performing at Chicago’s Mustache Cafe in 2025, photo by Jason Peterson **What is the T.A.C.K. aesthetic?** Stella: It was originally just trucker hats and then I was at home in Arizona and I found this trucker hat from the ’80s that had sunglasses attached to it and had a fish on it. I went back and gifted it to Roach. Two shows in, he lost it. We played at a dump and he freaking lost it. I forced him to buy one off of eBay. For a while, I was wearing one that didn’t have the sunglasses attached. Then I took a look on eBay and found a different one that was also blue and white and had the sunglasses. Roach: Basically, the look is trying to be like St. Bernard Parish, \[specifically\] Chalmette, dads that hang out in front of the Tractor Supply. A lot of times we like to joke that the band was founded in the parking lot of the Tractor Supply near Violet, Louisiana. It is kind of a fishing dads vibe. Stella: But simultaneously, an old married couple that can’t stop bickering with each other. \[*Roach laughs*\] **Roach, you mentioned Violet. Did you grow up in Louisiana?** Roach: No, I grew up right outside of Cleveland. Stella: We’re posers. Roach: I’ve been here since November 2017, but I grew up in Cleveland and played in a lot of punk bands over there too. **Stella, what about you?** Stella: I was born in Arizona, but I moved all over growing up. I went to college in Savannah, Georgia and then made my way here. I’ve been here for about five years. **Not being from New Orleans but having spent a while here, what is your impression of the city’s underground scene?** Stella: What's funny is we actually met at a country show because Roach typically plays in country and Cajun bands. When I moved here, I accidentally ended up in the country scene. I’ve always loved country music, but I only play punk music. We ended up at a party and were chatting. We started talking about punk music and laying out our favorite bands. Both of us were like, “Oh my god. You’re my musical soulmate!” That meeting point in the country scene and that a lot of our friends play country and Cajun was a huge influence in why we lean into the twang. Through building T.A.C.K., we entered the punk scene. We weren’t really that deep in the punk scene when we started playing punk music together. I didn’t really know what was going on here. When we started playing, it was kind of like, “Oh, OK. This is what we’ve got.” Roach: I had played in a punk group here named Chardonnay. But as far as the punk scene, I wasn’t really super active. I feel like New Orleans can be very cliquey. There’s the Ninth Ward punks over here and you’ve got the Uptown punks. There’s a Mid-City scene. I’ve enjoyed getting to play punk shows that have a mix of these people I wouldn’t necessarily see in day-to-day life. Stella: A lot of our favorite people are not people that it would seem like we would be closest to. That’s what is fun about T.A.C.K. We still play with country bands sometimes but we’re obviously way harder on that bill. When we play with thrash or doom metal type stuff, they’re like “Alright. Y’all are going to play first because you’re so soft.” \[*Roach laughs*\] It’s sort of funny because we don’t really fit into anything, but we love getting to play with all the people and getting to enter into all these different scenes and be modular in that way. Roach: I appreciate more weirdo punk. Stella: [Dummy Dumpster](https://youtu.be/3lV11bKR54c?si=j5BoDVv9dx59r4SW&ref=see-saw.fun). When we saw them, we were both holding each other with tears in our eyes. Roach: Growing up in Cleveland, all my favorite bands were people who, just looking at them, you wouldn’t know that they were punkers. They were just normal dudes but they had the craziest, weirdest, most unique punk bands you’ve ever heard. I like all kinds, but sometimes the really hardcore stuff can get a bit repetitive for me. On those bills, they’re like, “You aren’t the heaviest band on the bill so you can go first.” Sorry we aren’t heavy enough for you. \[*laughs*\] Stella: We aren’t in all black and super angsty. I think that leans into the T.A.C.K. aesthetic: us both being people who don’t necessarily come off as super into the punk scene visually. Aesthetically, the punk bands that we love are people who have day jobs. They’re just weirdos who you would never suspect. Roach: It’s poking fun at the conformity of punk. **What were some of the bands that you were mentioning when you realized you were musical soulmates?** Roach: The big one was Country Teasers. Whenever I find someone that knows of them, let alone likes them, I’m like “Woah. That’s awesome.” Another big one for use was the Gories from Detroit. Those are two of my favorite punkish bands. Stella: And then C.C.T.V. and I’m a huge Pussy Galore fan. I had been pretty much obsessively listening to a playlist that had all those bands on it when I met him. He was like “Do you know Country Teasers?” I was like, “Someone hold me!” He came to a studio where I had a drum set. I had never played drums before and was learning to play. I had a metal trash can with a lid next to the drum set. He was like, “What is this?” I was like, “Pussy Galore has a trashy set. I’ve always had this trash can next to the set in hopes that it might work.” He sits down on the drums and just picks up the lids and puts it on the snare. It fits perfectly and he just starts playing. I was emotional. On half of our songs, I’m hitting a trash can lid. It’s a sound that is such a specific language that it was like, “This person understands what I’m trying to say with the drums.” It really helped us define some of our sound. **T.A.C.K. has a really interesting mic setup. Could you talk a bit about that?** Roach: We were just going for lo-fi vocals. They’re old rotary telephone mics. We’re definitely not the first to do this. It’s been done many times before, but I was essentially just trying to get that lo-fi sound without having to bug the sound guy or having to deal with a vocal effects processor. I’m sure if I found the right hot vintage mic, it would be easy, but those are expensive so I was like, “I’ll just get these phone mics.” It kind of stuck. I wonder if one day we’ll ever evolve from the phone mics. Stella: I’m scared. I love that I can just sit down and be like, “I’m good. It sounds cool already. You don’t need to touch it.” Roach: We’re starting with a shit sound and trying to make it sound good instead of starting with a good sound and trying to make it sound like shit. \[*laughs*\] **David Sabludowsky of** [**D. Sablu**](https://dsablu.bandcamp.com/?ref=see-saw.fun) **recorded both your EP and album. How has that process been since you have an unorthodox setup?** Stella: David is exactly the kind of punk we love, an absolute weirdo. I remember he came to our first three shows. We played our second show ever with \[David’s band\] D. Sablu. After our first show, he was like, “I want to record you guys. I can hear it. I can see it.” He just understood. He is unorthodox as well so he was able to come in and be like, “I have no idea what I’m doing, but we’ll figure it out.” I was like, “Cool, I still don’t really know how to play drums and we’re going to record this.” Roach: He recorded us on a 4-track Yamaha cassette recorder. Some of my favorite punk recordings are 4-track recordings, of course. **David uses a 4-track recorder in a way that goes beyond just using it out of bare necessity. He knows how to get a little freaky with it.** Roach: I think we were even a bit minimal for him. He was like, “You know we have a few more tracks if you guys want to add anything else! Any effects or overdubs? Extra vocal tracks?” We were like, “No. It's good. Leave it like that.” Stella: Roach is the one who is all about sound. He is tweaking things constantly. He’s a perfectionist. I’m like, “It’s good. It’s done. It’s just how the universe wanted it. It is what it is and I’m not going to obsess over it.” He’s like “Let’s do it again. This needs to be louder. This needs to be lower.” And I’m like, “I’m going to freak out.” \[*laughs*\] I think it’s good that we’re so similar but we also contrast in what we do. He has this creative brain when it comes to sound that I do not have. I have this creative brain when it comes to visuals. I’m a graphic designer so I do all the art for T.A.C.K. It helps create this full entity. **Stella, how does T.A.C.K. compare with your day job work in graphic design and branding?** Stella: T.A.C.K. is pure pleasure, even though sometimes it is business. It’s been fun because we accidentally created these characters Roach and Stella. We’re both private people. You’re going to go on our Instagrams and see a bunch of selfies. You’ll probably find one single photo with our faces for every five years. We’re just not like that, so it was kind of a way for us to have a mask on but not leaning too hard into it. He’s super calm, cool, and collected, but when he’s Roach, he’s so talkative and charismatic. Whereas I’m very talkative and charismatic, but when I’m Stella, I don’t say shit. Stella is pissed. It creates a dynamic where we’re leaning into totally different sides of ourselves. Roach: People are sometimes like, “Jeez, I didn’t know you had that in you. You were screaming and dancing around!” I’m usually more of a quiet guy. Stella: In comparison to the design work I do, I do a lot of work for other bands and I like to work heavily within the community so it’s still very relevant to what I do, but T.A.C.K. is fun because it’s totally our own invention. I enjoy finding new ways to lean into the Chalmette fisher vibe we have without it feeling too cliche. Johnny actually fishes in Alaska and he loves fishing. He’s really good at it! There’s parts of the T.A.C.K. aesthetic that are actually very real for us! ![T.A.C.K.’s Stella and Roach on a motor scooter in 2024, photo by Macy Franko](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/05/Macy-Franko--2024.jpeg) T.A.C.K. in 2024, photo by Macy Franko **Was T.A.C.K. supposed to be a two-piece from the start?** Roach: The whole thing was a very, very happy accident. After we started talking to each other and realized we liked the same bands, Stella had said how she wanted to start playing drums. I was like, “I would love to mess around and play some electric, heavy music. Let’s come over and jam.” The only reason I play baritone guitar in T.A.C.K. is that it was the only electric guitar I had at the time. She had this really fancy delay pedal that I had no idea how to use, but I noticed it had two outputs on it. I was like “Woah. I think I could use this as a splitter.” I plugged it into the amp and into the bass amp. She was like “I want to learn how to play drums,” so I was like, “Do this. \[*imitating a drum beat*\] Boom - chuck - boom - chuck!” We started messing around and that was T.A.C.K. pretty much. Stella: Yeah. That beat he taught me is pretty much the only beat I’ve played in T.A.C.K. so far. I’m slowly evolving, I promise. But our inspirations were the Gories and all these primitive bands. What I like in sound is a very raw and one-two beat anyway so it felt very natural for me. It was an accident that I then started singing. I’m trying to learn drums and now I’m kind of the lead singer for this band. That’s really hard to navigate so I stuck to the one beat. Roach: You want to be in a band and don’t know how to play drums? Who cares! Just play! We’re going to do it anyway! Stella: We thought we would have a bassist at one point, but we got booked for three shows in a row during Mardi Gras, literally three days in a row. We had maybe four or five songs that were very short so it was probably a ten minute set…We were just like, “Fuck it. Let’s just do it.” People were so responsive to it. The sound that \[Roach\] was able to achieve and all the texture that was in it with the trash can lid, the mics we use, the splitting, the baritone guitar actually filled up a lot more space \[than we anticipated\]. Also, we’re very particular. I trust no one else. \[*laughs*\] They could come in but they’re doing what I say because I don’t trust anyone but him. \[*laughs*\] **Last year, you shot a music video on a moving truck for “P.L.F.” from your prior EP. What was that like logistically?** Roach: It was a hot ass day. It was like 100 degrees out. We had to borrow my buddy’s truck and we had trouble getting it started. It didn’t have a license plate on it so we had to take that off of another truck. Stella: We argued a lot. That was a dark day for Roach and Stella. Roach: We drove up to Bayou Sauvage on \[Highway\] 90 and realized that she forgot a snare drum so we had to drive all the way back. Stella: It was really hectic but it was a vision that I had for a long time. I wanted to play in the back of a truck bed going down Highway 90 because that song is about me being like, “Fuck all this. I need to go do a day for me.” I text him sometimes that I’m having a P.L.F., which just means I’m leaving and I’m going to the beach. I always drive down Highway 90 so we’ve got to be driving down Highway 90 \[in the video\], catching the vibe. Roach: It was definitely a little bit sketchy. You probably can’t get away with something like that if you aren’t in southeast Louisiana. We didn’t have any problems. Stella: We were literally just driving down the highway. We had our friend Rett Rogers, who is awesome and works with a lot of musicians around town, do the music video. He did it on Super 8, which is why it has this sort of grainy, flickery thing. He was super game. He was sitting in the back of the truck, leaning and almost falling out of the truck, while we were playing as our friend Bekah Raye was driving us. Roach doesn’t like to admit that he is an incredibly creative person. He had a lot of cool visions of us playing on the side of the road and how that was set up. We got some pictures that day. We had to lift all of our gear onto this raised concrete platform that an old house was probably on so that we could get a picture where he had the vision. So much of what we’ll do is I’ll come with a core idea and then he really helps seal in that T.A.C.K. vibe by putting a tire or gas can somewhere important. **One last thing. Does T.A.C.K. stand for anything?** Stella: It does not. Roach: It does. Stella: You say that but we never agreed on what it stands for. Roach: Tactical Armor for Children and Kids. Stella: I don’t like that. That’s very triggering. I say Teaching Angry Children Karate. It’s much more positive. He was like, “I love C.C.T.V. I love the acronym name. I want something that could be an acronym.” I just walked up to him while we were at a show and whispered into his ear, “What about T.A.C.K.?” Everything about T.A.C.K. was just easy. We found each other faded and just bickered our way through it. It all fell into place super easy: the vision, the characters, the things we wear, the jokes we say on stage. It’s such a part of who we are because it was strangely effortless. Roach: We’ve played around with having side projects with more than two members. T.I.C.K. would be a three piece. T.O.C.K. could be a four piece. Stella: T.O.E. Come on bro! \[*laughs*\] T.I.C.K., T.A.C.K., T.O.C.K.? T.I.C.K., T.A.C.K., T.O.E.! ### punk this week: science man, mspaint, sexfaces + 16 more URL: https://see-saw.fun/punk-this-week-science-man-mspaint-sexfaces-16-more/ Last updated: 2025-05-25T07:04:03.000Z It’s Saturday, which means it’s time for a charmingly belated installment of see/saw’s weekly column Punk This Week! Here at the end of May, we enjoy an embarrassment of riches: Science Man, MSPAINT, SEXFACES, Sister Agnes, Private Function, G.I. Jinx, Bussy Kween Power Trip, Les Lullies, Waylon Thornton, and Power Pants. It’s all those bands plus some new Oi! records, some unhinged hardcore, and an impeccable collection of L.A. bedroom psychedelia. So how do you read the entire post beyond that first free-for-everyone blurb? You’ll need a [paid subscription](https://see-saw.fun/#/portal/) to see-saw.fun. It costs $4/month or $40/year; there’s a two-week free trial for subscribers. In addition to getting a new column full of writing and new punk recommendations every week, you get access to subscriber-only monthly [bonus podcasts](https://see-saw.fun/tag/podcast/) and the full [see/saw radio](https://see-saw.fun/see-saw-radio/) archive. You also get the warm feeling of putting your money toward a fully independent, reader-supported newsletter that isn’t run by a corporation. see/saw is a total labor of love and your subscription, free or paid, is seriously a huge deal. --- **Science Man:** [***Monarch Joy***](https://scienceman.bandcamp.com/album/monarch-joy?ref=see-saw.fun) **\[Swimming Faith\]** Buffalo’s John Toohill has been busy in the past year putting out work with other projects including some great records by Alpha Hopper and Ismatic Guru. Let’s be real, though—a new Science Man album is the main event. *Monarch Joy* is hardcore with nonstop momentum, this absolute menace of a record with huge burly riffs, guttural blown-out vocals, and sick lead guitar licks. Even on a more slow-burning track like “How the Butcher Gets Paid,” the band sounds enormous and the lyrics drip with vitriol. The guitars on “Lesser Species” buzz and swarm like a colony of murder hornets while the drums ratchet anxiety beyond any sort of comfort zone. It’s a wild ripper that comes highly recommended to any and all sickos. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/05/a2298054757_10.jpg)](https://scienceman.bandcamp.com/album/monarch-joy?ref=see-saw.fun) --- _This post is for paying subscribers only._ ### sexfaces, seasoned dc punks, are not always on the same page URL: https://see-saw.fun/sex-faces-seasoned-dc-punks-are-not-always-on-the-same-page/ Last updated: 2025-11-17T20:57:29.000Z There were no clear warning signs of what I was in for sitting down with DC’s only reluctant rock’n’roll band, [SEXFACES](https://sexfacesdc.bandcamp.com/album/sexfaces-bad-vibes-ost-lp?ref=see-saw.fun), at a band member’s office suite in DuPont Circle before their matinee show at Smash Records. On the surface, SEXFACES seem like a fresh new band composed of experienced musicians from the ranks of Coven Tree, Des Demonas, Et At It, the NVs, Stop Worrying and Love the Bomb, Tadzio, TK Echo, and the original Pizzagate-inciting duo, Thee Lolitas. Even as they emerge from the shadow cast by those area acts, SEXFACES have already accomplished a lot on their debut album [*Bad Vibes OST*](https://sexfacesdc.bandcamp.com/album/sexfaces-bad-vibes-ost-lp?ref=see-saw.fun) (out this week on Slovenly). Along with their recent spate of weekenders and a longer tour approaching, the band appear to have caught their stride. Behind the scenes, they’re a bit of a mess. Today’s show will double as a launch party for the [Kunst Kollectiv](https://www.instagram.com/kunst%5Fkollectiv/?ref=see-saw.fun) zine, which a few members are behind. Sprung up from flyers and t-shirts designed for the band, a haphazard process emerged in their creative process akin to an exquisite corpse. In this way, multiple personalities and opinions could coexist—whether in harmony or not—with results that feel original even if at odds with their constituent parts. Take for instance the cover art on their new album produced by the Kollectiv, which features the Hindu god Ganesha brandishing a torn off dick. At first, the image alarmed founding SEXFACES and Kunst Kollectiv member Sal Go, who 1) hadn’t approved of the use of her patron saint and 2) had her prudish mom to contend with. Yet here we are. It’s akin to the experience of listening to the band: a disjointed maelstrom played up to the brink of falling apart, yet glued together by lessons absorbed from the Velvets, the Stooges, and “Expressway to Yr Skull” era Sonic Youth. The tunes are chaotic, hypnotic, and cathartic; they’re also crazy, sexy, *and* cool. Read on for squabbling, in-fighting, and whatever shit talk made it past the censors. Rest assured it was all couched in loads of laughter and offered potential for personal growth within the group throughout. --- ![Sex Faces in DC, photo by Tim Abbondelo](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/05/IMG_9580-copy.jpg) SEXFACES in DC, photo by Tim Abbondelo **What’s your name and what do you do in and out of SEXFACES?** Fiona: I’m Fiona. I play bass in SEXFACES. Outside of SEXFACES, I’m a therapist. Jacky: I’m Jack(y), Paul, George, Ringo, and Lennon. I play drums in SEXFACES, and I’m also an artist. Sal: Hi, I’m Sal Go. I play guitar in SEXFACES. Outside of the band, I’m a writer and an artist. Hana: I’m Hana. I play electric viola. Outside of SEXFACES, I have some dogs. **How’d you end up with SEXFACES?** Jacky: The band formed at a Teen Cobra show where Sal talked to me for the first time in 20 years. She asked if I wanted to start a band with her, and I said, *Yes— if you can get Al Budd in it*. And she also had to come up with a really good name. Then she sent me four names, which were awful, and I was like, *No, no, no. That sounds like a zine, or that sounds like a book, or that sounds like something else*. And then she messaged me and said, *Al’s in*. And I was like, *Great*. And then, *Al wants to call it SEXFACES*. And I said, *Great*. Then I very specifically said, I would like it to be an atonal, Birthday Party, Pussy Galore noise thing. And she said, *Great*, *that’s what we want to do too*. Then we had our first practice and she brought a song and it was rock'n'roll with a break in the middle. And then Al brought a song and it was rock'n'roll, and I was like, *This is a rock'n'roll band*. **Did you get conned into rock'n'roll?** Jacky: I got conned. And then we got Neil to play bass for a while, then he moved to Florida. So I was asking everyone and someone told me a friend of a friend wanted to learn how to play bass, so we were like, *Great, let’s get them, and let’s get Hana too*. So we got Hana to play electric viola, and it was gonna be great. The rest is history. Sal: Al Budd couldn’t do the band anymore, and Neil was moving. So we were back to me and Jacky and he knew an electric viola player. I had no idea what it would sound like, but it brought a really cool element to it and unpredictability to the way we write. Hana can play without even asking what the notes we’re playing are because they’re classically trained and so good at hearing where we’re going with it. It brings this cool dreamlike nightmare element. It took us a while to find the right bassist, but then we found the right bassist. Jacky: I was at a show and I heard Fiona moaning about playing music and asked her to play bass with us, and then she said, *Great*. And then she said, *Send me the songs*. And then I sent her the songs and then she learned the songs and then the rest is history. Fiona (to Jacky): I told you I got kicked out of the last band I played bass in and you were like, *OK, you’re in.* **What kind of reactions do you get to the viola?** Hana: I get the John Cale comparisons. But somebody told me the other night, *You’re a fiddle player*. Sal: Maybe you’ll inspire people to pick it up. Not that it’s an easy instrument to just pick up and play. Hana: Not since John Cale. **What’s the difference between a violin and a fiddle?** Hana: Well, it’s a viola. Jacky: A viola or a violin you play fully clothed. A fiddle you play barefoot. **It’s like—what’s the difference between a maestro and somebody who just plays music?** Jacky: No comment. Hana: Depends on who you know. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/05/SexFaces-Album-Cover.jpg)](https://sexfacesdc.bandcamp.com/album/sexfaces-bad-vibes-ost-lp?ref=see-saw.fun) **If SEXFACES could be the same band but anywhere else in the world during any time in the last century, when and where would it be?** Jacky: 1980s Berlin with Neubauten, the Bad Seeds, These Immortal Souls, and Crime and the City Solution. All that heroin, darkness, black hair. That’s us. Sal: Yeah, I agree, it sounds more fun than New York, but New York in the ’70s would be cool too— Jacky (to Sal): With whom? Sal: Well, I don’t think I’d be friends with those guys. Jacky: The no wave scene would’ve been interesting, but we wouldn’t be friends with any of them. Sal: They probably wouldn’t think we were cool enough. Jacky: We could be peers with Lydia Lunch and Teenage Jesus and the Jerks, Mars. DNA, Contortions, but we wouldn’t get along with em. **How is doing SEXFACES in DC right now?** Jacky: It’s really easy. It’s three women and a Black dude. Are you kidding me? What is you talking about? It’s really easy. We have so many show offers. Sal: We are weird enough that we can play these mixed bill shows and do pretty well. Hana: We fit in for DC. Jacky: I feel like we’re peerless. **What’s your favorite place to play in the city?** Hana: I love Rhizome. It feels like playing in my living room. Sal: Pass. Jacky: I played the 9:30 Club once, you know. Hana: You love to bring that up. **And how does it compare?** Jacky: Sold out show. I’ve lived in DC for 26 years, and I started going to the 9:30 Club my second year in America. My whole life it’s always been like: The band comes on and all their gear has already been schlepped by the 9:30 people. The band plays their last song, does their bow and leaves. Then the 9:30 club people schlep it off. When Des Demonas played, we had to schlep our own stuff on and off, which I thought was kinda weird. **Your new album takes its name from the *Bad Vibes* zine Jacky started, right?** Sal: We needed a good album name because I hated all the other ones. So we co-opted *Bad Vibes*. I thought I could get Jacky on board if we made a new issue of *Bad Vibes* zine for the new album, *Bad Vibes OST*. So it worked out. Jacky: The *Bad Vibes* zine and *Kunst Kollective* zine are different. *Bad Vibes* is more SEXFACES now. **I love the OST part of the album title. I’m surprised a band hasn’t used that yet.** Jacky: It’s mushrooms. Sal: It has been helpful for me to come up with ideas on mushrooms. I did the whole insert on them. **So if there’s *Bad Vibes OST*, is there a SEXFACES movie we can look forward to?** Jacky: Yes. Sal: It’s unmade, but we’re gonna make it **So it’s in pre-production?** Sal: It’ll be in pre-production while we're driving around on our tour trying to entertain ourselves. ![Sex Faces at Smash Records in DC, photo by Tim Abbondelo](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/05/IMG_9632-copy.jpg) SEXFACES at Smash Records in DC, photo by Tim Abbondelo **Has this lineup toured together yet?** Sal: We did a little short tour, but nothing longer than a few days. So we’ll see if we remain a band, but I think this group gets along really well. **Is there a risk you won’t?** Sal: I don’t think so. Jacky: Yes. Hana: Can’t get rid of me. Jacky: Yes, there’s a risk, which is inevitable, but after *Bad Vibes OST* comes out we are going back in the studio after the tour to do some more songs and put out another record. Fiona: It’s exciting as the newest member of the band who hasn’t been in that process with these people before. Jacky: Tell them the name of the song that you named. Fiona: “Come on Dog.” **Is that one you play out yet?** Fiona: It’s gonna be debuted tonight as a matter of fact. **Are there any cities where you think SEXFACES will go over best?** Jacky: 1980s Berlin. **I know we’ve established SEXFACES is peerless, but what other bands from around the country are you into right now?** Hana: Shout out to my affiliate friends and song people, Luna Honey. Jacky: Here’s my list. I like 504 Plan. They’re from here, they’re really young, they’re hardcore, but they’ve been treating me like a fan boy, so fuck em. I like Figure of Fun. They’re from New York. They’re like a Birthday Party rip-off band, but they’ve also been treating me like a fan boy, so fuck em. I like Genre Is Death from New York. Sensor Ghost has a new record out, which is really funny. Weegee from New York are also kind of good. Licks from New York have a Black singer who looks like me. They’re really good. Hana: Who are you skipping over? Jacky: I have a list. Foul Swoops. No Man. Ar-Kaics. Bedmaker are alright. There’s this band called the Vampyres from Africa that’s really fucking good. What’s the name of your other group? Fiona: Caustic Hologram. Jacky: Caustic Hologram. ![Sex Faces, photo by Chris Suspect](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/05/Sex-Faces-for-Black-Cat-Advert---Chris-Suspect-2023.jpg) SEXFACES, photo by Chris Suspect **Does the band have a manifesto?** Sal: I don’t know if we have a manifesto straight-up. We put a lyric sheet in the album because I felt like you work hard on a song. I want people to know what I’m saying. People should read the lyrics. Jacky: I disagree with everything Sal just said. We did not work very hard on the songs. It was very easy and seamless and it was so much fun to do it. When it comes to lyrics, English is my second language. What I really love about lyrics is how everybody comes up with their own things. Sometimes what I heard is not what my sisters will hear or what my friends would hear. That’s what I really love, where a song means something to you and then you read the lyrics and you’re like, *Oh that’s what he’s saying. That’s so stupid*. That’s why I’m really anti-lyrics. But that said, when you did the lyrics, it looked amazing. But I want all the readers to know that this is just a fun band. It started as a fun side thing and it’s become something else and it’s great. It’s easy. Writing songs is easy. Being in a band is easy. People saying it’s hard are really fucking annoying. **What’s the hardest part?** Jacky: There’s nothing hard about being in a band other than just human relationships and those are hard anyways. That’s just part of the deal. Everything else about being in a band is easy. Writing a song. Coming up with titles, booking a tour. **What about doing the tour?** Jacky: I don’t like touring because I like my own bed and I like Theodora and I like Liliput— **Liliput the band?** Jacky: No, I have a cat, Liliput. She’s a great tabby. Sal: Maybe working hard wasn’t the right word. It’s more like I’m proud of the songs. That’s what I mean. Jacky: Being in a band is very easy. When bands say we are working hard on new records it really bugs me cause being in a band is supposed to be easy. It’s the easiest thing in the world. I think it’s fun to do it and then release it, but I think you and I as artists, once it’s done, we are working on the next thing. You’ve been in how many bands now, Sal? Sal: Five, six, maybe? In some ways it gets a lot easier because when you’re younger, you’re just going along with things. Now I think the hardest part is people’s busy schedules. **Do you both contribute lyrics?** Sal: Yeah. Jacky: Mainly Sal. Sal: Really? I think we both have different songs that we write more or less of. I do better when I have a prompt, so Jacky’s good at giving me a little prompt. And then, for instance, one song we started writing and you had the first verse and then I took that and finished the song, and it just happened to be the feminist anthem. Jacky: Yeah, “Can’t Do That” and “S.C.U.M.” are both feminist anthems. I wrote those. I want the readers to know that. I am a feminist. I’m the feminist of the band. It’s true. Ask me how it is to be in a band with three girls. **How is it to be in a band…with…three…** Hana: Two— Fiona: People— Jacky: Easy. ### punk this week podcast 34: artificial go + stress positions URL: https://see-saw.fun/punk-this-week-podcast-34-artificial-go-stress-positions/ Last updated: 2025-05-20T14:48:47.000Z ![audio-thumbnail](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/media/2025/05/punk-this-week34_mixdown_thumb.jpeg) punk this week 34: artificial go + stress positions 0:00 /3656.136 1× [Punk This Week](https://see-saw.fun/tag/podcast/) *is see/saw’s weekly podcast from co-hosts Evan Minsker and Nina Corcoran—a discussion of the latest and greatest in the world of punk rock. We talk about six new punk records we’re loving from the past week.* Nina found herself at an All-American Rejects house show in Chicago this past weekend, a tale that absolutely includes some snack chat. Then our duo ponders a wild week that included the stellar new EP from Chicago’s [Stress Positions](https://stresspositions.bandcamp.com/album/human-zoo?ref=see-saw.fun) and an impressive level-up from Cincinnati’s [Artificial Go](https://artificialgo.bandcamp.com/album/musical-chairs?ref=see-saw.fun). We also discussed the new ones from Minneapolis’ [Meditation](https://meditationpunk.bandcamp.com/album/spiritual-impurity?ref=see-saw.fun), Dublin’s [M(h)aol](https://mhaol.bandcamp.com/album/something-soft?ref=see-saw.fun), New York City’s [Docents](https://docents.bandcamp.com/album/shadowboxing?ref=see-saw.fun), and Orange County’s [Kram-a-Xam](https://popularaffliction.bandcamp.com/album/maxi-and-marky?ref=see-saw.fun). Don’t forget to check out new ones from [the Gotobeds](https://gotobeds12xu.bandcamp.com/album/masterclass?ref=see-saw.fun), [KiLynn Lunsford](https://kilynnlunsford.bandcamp.com/album/promiscuous-genes?ref=see-saw.fun), and [Gubba Hori](https://gubbahori.bandcamp.com/album/gubb-a-vori?ref=see-saw.fun). --- Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.fun). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/see%5Fsaw.fun/?ref=see-saw.fun), [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun), and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). Have a question you’d like to hear addressed on the show? Want to talk about a new record we didn’t discuss? Want to send a HARD PIVOT or NO AMERICANS bumper? Email us: [see-saw@see-saw.fun](mailto:see-saw@see-saw.fun) *Punk This Week* is made possible by see/saw subscribers; please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-33-frizbee-cortada/#/portal/) if you enjoy this podcast. You’ll learn about way more punk records than we can pack into the podcast! ### punk this week: stress positions, artificial go, the gotobeds + 15 more URL: https://see-saw.fun/punk-this-week-stress-positions-artificial-go-the-gotobeds-15-more/ Last updated: 2025-05-16T16:23:43.000Z It’s time for Punk This Week, see/saw’s weekly punk and rock'n'roll recommendations column. As calendar weeks for punk rock records, this is one of the biggest of 2025 so far. There’s new stuff from Stress Positions, Artificial Go, the Gotobeds, KiLynn Lunsford, and Snooper. That new Meditation tape is unbelievable, and I love the new ones from No Sector, Bugg Music, and Kram-a-Xam. There’s seriously some incredible new records that you absolutely must check out. To access Punk This Week this time and every time, you’ve [got to sign up](https://see-saw.fun/#/portal/) for $4/month or $40/year. Most of the stuff you get on this website is free. I try to keep the cost low, and honestly, I throw the majority of the money back to the punk community—to artists, writers, labels, etc. Since this thing is fully independent and has no backing investors or anything, [subscribing to see/saw](https://see-saw.fun/#/portal/)—free or paid—is a massive help. --- **Stress Positions:** [***Human Zoo***](https://stresspositions.bandcamp.com/album/human-zoo?ref=see-saw.fun) **\[Three One G\]** If you’re in the market for rabid, sadistic hardcore with the intensity cranked to maximum, it’s Stress Positions time. Stephanie Brooks is in the pantheon of artists who exude raw and intense conviction like it’s nothing, wielding sustained unhinged screams like a raised sword. The band’s pummeling fury feels like the commensurate rage release after years of fascist darkness. Brooks screams about genocide, colonization, anti-abortion laws, military indoctrination, and systemic racism. Stress Positions shows are places of power and release. This record captures that feeling, but the decaying skull and the feeling of listening on headphones are unnerving reminders that the people whose faces most need to be caved in by this music and these messages are never, ever listening. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/05/a3433154509_10.jpg)](https://stresspositions.bandcamp.com/album/human-zoo?ref=see-saw.fun) --- _This post is for paying subscribers only._ ### punk this week podcast 33: frizbee + cortada URL: https://see-saw.fun/punk-this-week-podcast-33-frizbee-cortada/ Last updated: 2025-05-13T15:31:12.000Z ![audio-thumbnail](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/media/2025/05/punk-this-week-33_mixdown_thumb.jpeg) punk this week: frizbee + cortada 0:00 /3464.16 1× [Punk This Week](https://see-saw.fun/tag/podcast/) *is see/saw’s weekly podcast from co-hosts Evan Minsker and Nina Corcoran—a discussion of the latest and greatest in the world of punk rock. We talk about six new punk records we’re loving from the past week.* At the end of this episode, Nina throws down the gauntlet, challenging listeners for a new bumper. Before that, we discussed a new tape from the now-defunct Indianapolis band [Frizbee](https://painterstapes.bandcamp.com/album/sour-kisses?ref=see-saw.fun) and a full-length from Portugal’s [Cortada](https://cortada.bandcamp.com/album/g-nb-i?ref=see-saw.fun). We also go around the world with new records from [Laxisme](https://laxisme.bandcamp.com/album/s-t?ref=see-saw.fun) (Germany), [Sword Breaker](https://swordbreakerbreaksyou.bandcamp.com/album/bloody-pikes?ref=see-saw.fun) (Netherlands), [Ubili su Batlera](https://ubilisubatlera.bandcamp.com/album/ubili-su-batlera?ref=see-saw.fun) (Serbia), and [Empty Bones](https://emptybonesandbottles.bandcamp.com/album/speed-commitment-and-luck?ref=see-saw.fun) (Germany). --- Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.fun). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/see%5Fsaw.fun/?ref=see-saw.fun), [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun), and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). Have a question you’d like to hear addressed on the show? Want to talk about a new record we didn’t discuss? Want to send a HARD PIVOT bumper? Email us: [see-saw@see-saw.fun](mailto:see-saw@see-saw.fun) *Punk This Week* is made possible by see/saw subscribers; please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-32-um-jennifer-the-vacant-lot/#/portal/) if you enjoy this podcast. You’ll learn about way more punk records than we can pack into the podcast! ### rotary club could only be reached via reno bus station payphone URL: https://see-saw.fun/rotary-club-could-only-be-reached-via-reno-bus-station-payphone/ Last updated: 2025-05-12T17:36:02.000Z The Fourth Street Bus Station in Reno is unmissable—a semi-recently renovated building with a bus hoisted diagonally on a pole out front. At 10 a.m., I walked through the revolving doors, took a left down the hall, and found the payphones by the men’s room. Jammed behind one of the phones was a manila envelope emblazoned with a familiar globe symbol. Inside was a letter addressed specifically to me. There was a phone number and several quarters. (“Tokens,” the letter called them.) I dialed Rotary Club, who greeted me from their undisclosed location in the same city as this bus station. All of that happened—a scene for me to perform plotted entirely by the Reno punk band. I was thinking I’d meet Rosie Rot, Clint Tone, John Line, and Ilya Scope in person. Instead, they instructed me to see this part of their city on my own. It’s an area defined not by casinos or squeaky clean new development, but people doing real life shit. It’s a residential hive of activity where folks smoke, wait, wash their hands, hit the vending machines, and catch the next bus. I held the receiver against my face, leaned against the wall, savored the bathroom smell, and spoke loudly to Rosie and John from an echoing hallway as commuters, the hung over, the unhoused, and cops gave me side-eye. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/05/IMG_4054.jpg) The bus out in front of the Fourth Street bus station This happened in March. Four months earlier, they’d released their new album [*Sphere of Service*](https://ironlungrecords.bandcamp.com/album/sphere-of-service-lungs-283?ref=see-saw.fun)on Iron Lung. It’s garish and punchy music not easily boxed in as “art punk” or “new wave.” Frankly, art punk and new wave aren’t supposed to rip like this. It’s rock’n’roll made by sharp-eyed over-analyzers in matching uniforms, and they shred. The songwriting looks at the landline-only communication of yesteryear, days when a ringing phone raised a collective question mark over the heads of anyone in the room. No caller ID or whatever—just “I guess I’ll see who it is” or “I’m way too tired for this.” That’s Rotary Club’s entire deal—punk that prods a time-locked subject from every angle, and their singleness of intention lends itself to a front-to-back exceptional record about bureaucracy and communication. Under their watch, the busy signal throbs with desire and thwarted possibility. This is a band that converted vintage payphone boxes into their live show amps and gear. They absolutely collect old phones, and they’re always thinking about what these machines represent. Listening to their songs, I’ve been wondering about it myself. It’s playful music, but they don’t take their muse lightly. These are punks working hard in commitment to their aesthetic source material. Four weeks after our conversation, I received another envelope-based communique from the band. This time, it was a cassette in the mail featuring a recording they made of the chat from their end. My voice on the call sounds like a whisper beneath tidal waves of tape hiss, but everything else comes through well. Sometimes, a chunk of the tape is bulldozed by an added-in [phone line disconnect tone](https://www.youtube.com/watch?v=NI%5FwyiY4vyk&ref=see-saw.fun). They were never going to email me this audio. A landline band sends tapes through snail mail. Live the gimmick, brother. Our chat was edited for length. --- ![The manila envelope with instructions, quarters, and the Rotary Club logo lodged behind one of three payphones at the Fourth Street Bus Station in Reno. A photo of one of them in a mask atop a payphone was affixed to the wall.](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/05/IMG_4053.jpg) The manila envelope with instructions, quarters, and the Rotary Club logo lodged behind one of three payphones at the Fourth Street Bus Station in Reno. A photo of one of them in a mask atop a payphone was affixed to the wall. *Welcome to Rotary Club, where we all live and die in the sphere of service. The following is a recording of a transmission received from Evan Minsker on March 8, 2025 at approximately 10:01 a.m. at the RTC Bus Transit Station on 200 E. 4th Street at Reno, Nevada. Upon successful connection to a Citizen Node Terminal, henceforth referred to as a “payphone,” voice activity was detected and duplex signal circuits were brought online to catch roughly 35 minutes of communication. All information gathered from the payphone is deemed confidential and subject ot any and all ITU policies and protections. It is noted that only one of the three payphones was able to achieve connectivity on the date and time referenced above.* John Line, guitar: Hello, Evan. Do we have your permission to record? **Yes, of course you do.** John: This is John Line of Rotary Club. I’m glad that you received our official communique. It seems like our duplex speech circuits are working. Rosie, can you get the freezeout to 500 milliseconds, please? Rosie Rot, vocals: Yes. John: Apologies in advance, our time-assignment speech interpolation has been acting finicky as of late, so there may be some unavoidable cross-talk that we might have to deal with, so we definitely appreciate your understanding in that matter. **Thank you very much for the instructions. Tell me about this specific payphone I’m on, do you have experience with it?** John: We do, actually. It’s one of our designated citizen nodes, a really useful point of connectivity. They’re actually harder to come by these days. Fourth Street Station in Reno, Nevada is one of the last bastions of wall-mounted citizen nodes, so yes, we do use those quite frequently. It is our location of choice, actually, between that and two other locations spread throughout the fine city of Reno, Nevada. We do have one on Dickerson Road and we do have one on Fourth Street as well. **I’m on one of the three phones. You instructed me to use the one on the right, but I’m calling from the one on the left. The middle and right ones aren’t working.** John: OK, will you take notes on that please? Rosie: Yeah, noted. John: Thank you, yeah we’re going to talk to the general secretary over at the ITUT Standardization Sector to see if we can’t get that looked at. **You’re in Reno right now?** John: We are in Reno. **Why don’t you want to talk to me in person?** John: We kind of prefer to operate in the shadows, so to speak. We also feel that life these days, it’s very interesting to add little points of color where we can. I guess I turn that back to you: What would you find more interesting, to meet in person or to use the designated citizen node at Fourth Street Station? **Oh, this is definitely interesting. You’re not using the word payphone, do you not subscribe to that term?** John: It does have a little bit of a negative connotation for us, to a degree. We definitely prefer citizen nodes, but we’re not opposed to it. If it makes anybody feel any better, we can use the term payphone. **Tell me about the payphone boxes you’ve converted into your live show pedalboards and amps.** John: Our head of technology, Ilya, actually is not with us, but he’s the architect behind a lot of that. As with a lot of bands, projects, missions, whatever you like to call it, a lot of this was rooted in some kind of aesthetic to some degree—something that spoke to us. We noticed that citizen nodes/payphones were almost perfect for housing guitar and bass amplification, and so with that in mind, we decided to turn one to the side, put some tubes inside of it, and Ilya worked his magic. We feel that effort is lacking in certain things, especially in music endeavors, so why not go a little bit further with things? **Are you all from Reno originally or did you find yourselves there?** John: We all come from a variety of places. I was born and raised in the Bay Area and I’ve lived here since early high school. I’ve moved to other places and I’ve generally come back. It’s a very interesting city as small cities go, especially where it’s at now. It’s in a perpetual state of decay so there’s a rebirth in some aspects. But this is home to us. Rosie: Ilya and I moved here from the Bay. I’m from Los Angeles, Ilya’s from the Bay, and Clint is from outside Sacramento. **Were you involved in other bands together?** John: We don’t really like to discuss previous things we’ve done, but we have all been playing music in different capacities and different bands for decades. We’ve played in other bands with each other, we’ve known each other for 10+ years. Reno’s a very small music scene in general, so a lot of people play in multiple bands. The way this came about was four or five years ago, I was in a project that was fading out. I reached out to Ilya and a few other people. Really, this whole band started with a bit of a visual image, to some degree. This is the only band I’m really going to reference, because I don’t really find that very interesting, but there’s this vision we had of the Corpsicles’ “[Now You're Gonna Leave Me](https://www.youtube.com/watch?v=-AwtDqgiAfQ&ref=see-saw.fun)” 7” and the cover. Like “what if instead of popsicles, there was rotary phones?” **Between the record and what we’re doing right now, I’m curious about the conceptual reality of the band. Do you acknowledge a reality where cell phones are a real thing?** John: We’re not looking necessarily to be in any kind of a movement. It’s just more indulging in a certain kind of perspective, I suppose. We find it interesting to look at the world of telephony through the lens that existed in an era from the late ’70s up until the formal breakup of the Bell monopoly in ’82\. We’re looking at the way telecommunications and technology was perceived and how pervasive it may have seemed at the time in that era lends itself to a very interesting perspective in where we’re at in the modern days. There’s no denying that the utility of modern technology is great, obviously with it there’s pros and cons, but we don’t really like to speak to that. We’re painting a picture to a degree and people can take from that what they want. We’ve always found that rather than being very blunt about any kind of perceived message, it’s more interesting and more impactful for people to come to realizations on their own. ![Rotary Club in front of a broken down motel’s sign atop a phone booth](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/05/gobbo_jam.jpg) Rotary Club still from the “TDOS” video shoot **Hanging out here, I keep thinking about how my dad used to play *Asteroids* at the bus station. It was a place where you could make a call in public when you needed to. Now you can do both of those things on your phone anywhere. Your songs remove that step of instant gratification; how much are you thinking about that conceptually?** John: Well yeah, it’s a slippery slope, right? There’s no denying that there is an incredible amount of convenience that people have now in the palm of their hands, right? And initially, it becomes very gratifying early on, to get overwhelmed by all the prospects of all the things you could do that you couldn’t do before, and then somewhere along the line it settles into normality. Sometimes it settles into almost an extension of yourself that you can’t even differentiate with anymore. The use of phones now is so intertwined in our very being. Back in the day, for instance, on the landline, if the phone went out, that piece of technology was so ingrained in people’s every day that they would actually go “OK, the phone’s out, I now need to call somebody to figure out what’s going on and complain,” not realizing that what you went to instinctually was the source of actual failure, right? Sometimes, when things become so intertwined in our very being and our everyday habits, it’s interesting to witness. I think there’s a certain simplicity when points of communication have a designated space as opposed to just being with us all the time. **You made a record about these devices, so I’m curious if you have intentions to keep writing within that framework.** John: Yeah, absolutely. These days, not that you’re necessarily on a quest to do anything different—obviously so many things are rehashed over and over—but I think when you hit on a certain theme or an aesthetic and you can really get behind that, and we like to think that the music backs things up as well. It just feels really right for us. My thought is why not put effort and a little bit of artistry and a little bit of intrigue into something that you do? Whether it’s taking—and I’ll use the term payphone, I’m comfortable with that… whether it’s payphone amps, whether it’s records that are all about telecommunications, we all find telephony very fascinating. And why not? If you’re going to do something, why not do it full bore? I understand there are people who can think things are very gimmicky or “that’s a schtick,” and that’s fine. We are completely OK with that. We just like the idea of putting effort into the things we do, which is part of the reason you’re holding and speaking into a grimy receiver. **OK so I got here and there’s the manila envelope that got me here, but there’s also a print-out photo of somebody wearing a green papier-mache goblin mask atop a phone booth. What can you tell me about what I’m looking at here?** John: Is that pure coincidence? Rosie: Yeah, I think that just happens to be there. John: We’re doing a video for our song “TDOS,” and that’s some imagery we got as we went to some different locations. To a degree, the video references a goblin world and a normalized world—seeing the two sides, the pros and cons, of telecommunication. I’m not trying to get too heady about this as a metaphor. Papier-mache looks cool. ![Gobbo Beat image featuring a member of Rotary Club affixed to the wall above a payphone at the Fourth Street Bus Station ](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/05/IMG_4051.jpg) Gobbo Beat image featuring a member of Rotary Club affixed to the wall above a payphone at the Fourth Street Bus Station **Where’s the band now, are you thinking about the next record or still in the post-album wind-down?** John: We definitely have plans to continue recording. We are songwriting, but we’re at that space, too, where you release the record and go on small tours to go and promote the record. There are different stages of the band. We’ve all been in bands so long, the really interesting part that we all get excited about is the songwriting part. It’s just fun. That’s the most fun part, generally. **Rosie, you’re up front singing and shouting about touch tone phones. Are you excited about what the band does going forward or would you want to break out thematically and go wherever you want?** Rosie: Speaking about touch tone phones and whatnot, I feel like the entire world is based on communication, so I don’t really feel that we’re limited to citizen nodes or payphones or touch tones or the ITU. I do feel that everything in our lives as human beings is based on communication. I think talking about telecommunications is just a microcosm of that. **I’m curious about the Rotary Club experience of Reno. Since we can’t meet in person, where should a traveler go to walk a mile in Rotary Club’s shoes?** John: I would say usually more the outskirts. You want to go along the depths of Fourth Street, that’s usually a pretty good way to understand the landscape of Rotary Club, as well as some areas of the North Valleys—the more fringey areas that are a little more decayed. I grew up in a trailer park up in a place called Lemon Valley, so I think that desolation and withering away to a degree—some of these area feel like these degraded time capsules. There’s not many places that you can find payphones, but some of those outlying areas, you can definitely still see that. They’re not necessarily very used. Those areas are very much in the Rotary Club feel. Especially where you’re at right now, right downtown in the shadows of some of the casinos that are past their glory days, and this is what Reno is about. To a degree, it almost has a feel of a city that’s been slowly dying for a while, and out of that can come some pretty interesting things. Rosie: It simultaneously has the feeling of a city that’s slowly dying but one that aesthetically keeps trying to revamp. The bus station you’re in has been pretty recently been flipped or remodeled. There’s new-ish tile on the walls, stuff like that. If you look around, my guess is you’re mostly surrounded by people who are mostly living on the street where it’s literally illegal for them to sit or stand anywhere else in the city right now that’s not the bus station that’s warm. We just passed a [sit/lie ordinance](https://www.kolotv.com/2025/01/23/city-reno-adopts-an-updated-ordinance-that-prohibits-sitting-sleeping-camping-public-places/?ref=see-saw.fun), which means they can legally sit in there to stay warm but there’s nowhere else. That existing at the same time as the pathetically hopeful overdevelopment. There’s this constant talk of Reno’s growing, but all of the luxury housing to accommodate the growth is empty, you know? That’s where the people are. So I do think it’s this duality, like John’s talking about, between the decaying Lemon Valley trailer park and the vacant casinos downtown and all this empty space, and then people on the street. **I’ve been appreciating some individual signs that I’ve been seeing around here. Is there a sign that you think best sums up the vibe of contemporary Reno?** Rosie: I think it’s on Second Street if you’re going West in the middle of downtown, it’s on one of the buildings. It says: “New Luxury Housing Opening 2022.” I think last year they blacked out “2022,” so now it just says “Opening.” Because you’re here on the weekend, you should absolutely go to Cal Neva karaoke. I think on the surface it can feel strange and depressing, but I think it’s a very wholesome, special place where a lot of local people are hanging out and go every week for karaoke. **Tell me about your uniforms.** Rosie: They’re a standard jumpsuit. John: We do have some protective coveralls we like to wear, and we have the Rotary Club logo on the front and back. We wear different colors depending on the mood. What do we have right now, blue and red? It’s a team effort here and we like to embrace that side of telephony. That’s an inspiration from linemen and all the people that work in the industry in the early days of telephony. **Would you welcome other people outside the band to identify as members of Rotary Club?** Rosie: I don’t know if we want to get into identity politics on this call, you know? **I’m just saying—you have uniforms, you have an aesthetic North Star in telephony, you have clear iconography. Do you think you’re on the slippery slope to becoming a cult?** John: Aesthetic North Star, I like that! If we get to that point, I’ll consider that a good problem to have. Right now, we’re trying to get rid of a few records. \[*laughs*\] Rosie: I like where we’re going with that. I’ll take it. John: We’re willing to shoulder the responsibility, if that answers your question. And by the way, we have records for sale. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/05/a2279096502_10.jpg)](https://ironlungrecords.bandcamp.com/album/sphere-of-service-lungs-283?ref=see-saw.fun) Rotary Club’s Sphere of Service artwork **I’m looking behind me here at a couple vending machines. Assuming you’re familiar, what’s your go-to vending machine snack out here. Y’all ever get a snack out of these guys?** John: I believe I don’t. My diet’s fairly strict. Rosie: Yeah, we all have weird hippie diets. **I mean they’ve got some fig bars in here.** John: Oooh. Rosie: Is it Nature’s Bakery? **Yes.** John: I like those. Rosie: Those are local, indigenous to Reno. **Oh I didn’t know that, we’ve got these out by me, too.** Rosie: Yeah, it’s not my favorite, but I’ll eat one in a pinch. The brownies are good. **Y’all operate from the shadows, but you still share photos of yourselves right? It’s not a fully anonymous project in that way?** John: When we play live, obviously we don’t wear masks or anything, but again, in this day and age, everything is so accessible. A little mystery is a fun element to have in the world. I don’t think there’s enough of that. Everything’s so immediate and accessible. **Do you have a favorite phone model right now?** John: Personally, the Trimline series of phones was pretty nice. It was pretty revolutionary for its time: small, compact, sleek, and pretty affordable. That is a touch tone phone so I’ll roll with that for now. And obvious rotary phones in general, very nice, just the standard models. The Trimline is a phone every single household had. It was very pervasive. It‘s not the fanciest one, but that’s the off the top of my head response. Rosie: It’s not a phone, but the Phone Mate, the original consumer answering machine. I think it’s the Phone Mate 400\. **Do you all collect or just admire?** John: We don’t have an obsession, but if there’s an opportunity, we’ll go to thrift stores and such. We collect a bit. That’s the thing, we by no means profess ourselves to be experts in telephony. Even if you look over a brief period like the late ’70s to early ’80s, there’s so much to learn about that you did not know. Even outside the technological aspects of it, there’s a really interesting history. Which means a lot of fodder for songs. **When you sent me the original plan, I thought you were going to direct me to a second location. Did you consider that would be my thought process?** John: Our first thought process was “is this person going to tell us to fuck off and kick rocks” because it’s too ridiculous, but since you’re a good sport and we appreciate it, no, we like it just like this. We didn’t ever even think about that. Plus, honestly, half the band is out of town and left us with this. It’s been a great conversation, but we’re really scattered so we couldn’t mobilize things as much as we wanted to. But I like it like this. You’ve interviewed countless bands, but I doubt you’ve ever interviewed anyone over the payphone at the Fourth Street Station. --- *Rotary Club will be on tour at the end of May 2025\. Find them at the Holland Project in Reno on May 28, San Jose’s Art Boutiki on May 30, Dark Nectar Coffee in Atascadero, California on May 31, and at the Witch’s Lair in Davis, California on June 1.* ### punk this week: sex scenes, split system, les lullies + 17 more URL: https://see-saw.fun/punk-this-week-sex-scenes-split-system-les-lullies-17-more/ Last updated: 2025-05-09T21:20:23.000Z Ahoy-hoy, it’s Punk This Week—see/saw’s weekly roundup of new punk and rock'n'roll records worth your time, dime, and slime. The new one from Milwaukee’s Sex Scenes leads a particularly global installment. This column discusses new records from Germany, the Netherlands, France, Indonesia, Mexico, Australia, South Africa, Murfreesboro, Oakland, [New York City](https://www.youtube.com/watch?v=1S828Y7Eais&ref=see-saw.fun), and beyond. There’s also a surprise five-hour mix from punk YouTube icon Jimmy. Here’s the deal with see/saw: Most of the stuff you get on this website is free. Some things, including this column, cost $4/month or $40/year to access. I try to keep the cost low, and honestly, I throw the majority of the money back to the punk community—to artists, writers, labels, etc. Since this thing is fully independent and has no backing investors or anything, [subscribing to see/saw](https://see-saw.fun/#/portal/)—free or paid—is a massive help. --- **Sex Scenes:** [***Everything Makes Me Sick***](https://sexscenes.bandcamp.com/track/nothing?ref=see-saw.fun) **\[Big Neck\]** On their new album *Everything Makes Me Sick*, Milwaukee’s thrashcore unit Sex Scenes are predictably fed up. They say as much on “Fed Up.” On “Impressive,” they shout “don’t talk to me” followed quickly by “is it something I said?” The lyrics are all about pushing people away, whether it’s intentional or not. The music itself is engineered for intentional shoving. The album is this towering achievement of headbanging thrash hooks, a sound that’s giant and full of momentum. It’s dour thrash that makes you want to get up off your ass. You’re up, you’re moving, and you’re pondering the pointlessness of capitalism in life’s greater transient picture. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/05/a4262955662_10.jpg)](https://sexscenes.bandcamp.com/track/nothing?ref=see-saw.fun) _This post is for paying subscribers only._ ### punk this week podcast 32: um, jennifer? + the vacant lot URL: https://see-saw.fun/punk-this-week-podcast-32-um-jennifer-the-vacant-lot/ Last updated: 2025-05-06T20:17:41.000Z ![audio-thumbnail](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/media/2025/05/punk-this-week-32_mixdown_thumb.jpg) punk this week 32: um, jennifer? + the vacant lot 0:00 /3294.864 1× [Punk This Week](https://see-saw.fun/tag/podcast/) *is see/saw’s weekly podcast from co-hosts Evan Minsker and Nina Corcoran—a discussion of the latest and greatest in the world of punk rock. We talk about six new punk records we’re loving from the past week.* On the other side of some technical difficulties, Evan and Nina ponder a possible new path for punk. What is Quiznos-core? Join us for a chat about [Um, Jennifer?](https://umjennifer.bandcamp.com/album/um-comma-jennifer-question-mark?ref=see-saw.fun)’s fantastic debut album and the decades-belated return of Australian first wave punks [the Vacant Lot](https://ironlungrecords.bandcamp.com/album/creatures-of-the-night-lungs-288?ref=see-saw.fun). We also discuss new ones by [Class Tourists](https://classtourists.bandcamp.com/album/blunt-forced-trauma?ref=see-saw.fun), [Clenchers](https://see-saw.fun/fruit-looops-no-wave-theatre-of-the-absurd/), [Happy Death Men](https://theehappydeathmen.bandcamp.com/album/happy-death-men?ref=see-saw.fun), and [Shibuya](https://firefliesfall.bandcamp.com/album/ff041-bravura-y-firmamento?ref=see-saw.fun). --- Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.fun). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/see%5Fsaw.fun/?ref=see-saw.fun), [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun), and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). Have a question you’d like to hear addressed on the show? Want to talk about a new record we didn’t discuss? Want to send a HARD PIVOT bumper? Email us: [see-saw@see-saw.fun](mailto:see-saw@see-saw.fun) *Punk This Week* is made possible by see/saw subscribers; please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-31-kaleidoscope-life/#/portal/) if you enjoy this podcast. You’ll learn about way more punk records than we can pack into the podcast! ### fruit loOops’ no wave theatre of the absurd URL: https://see-saw.fun/fruit-looops-no-wave-theatre-of-the-absurd/ Last updated: 2025-05-05T17:33:39.000Z I’ve yet to attend a show that’s come close to matching the adrenaline rush I experienced during Fruit LoOops’ [set at Santamania 2023](https://www.instagram.com/p/C097W4-O7BR/?img%5Findex=1&ref=see-saw.fun). Dressed in matching referee’s stripes, the Cincinnati noise rock outfit intentionally faded into the background of their own performance, providing the live soundtrack to an unsanctioned, matless wrestling match staged on cold concrete. Static walls of dissonant synth program, nervy drum fills, and piercing vocals altered beyond recognition rained down with the same bone-rattling force of the steel chair on the heel’s back. Though the band’s performances skew loud and hyper-stimulating, Fruit LoOops felt more at home *amid* the chaos than at its source: At times, the music felt so dense, it was downright ambient, congealing into a mass of pure, absurd noise. Bodies fractured folding tabletops and spilled into the surrounding crowd, who shrieked with joy and confusion. The lines between danger, discomfort, and ecstasy blurred. Blending the scuzzy skronk of No Wave with the screwball electronica associated with labels like [Hausu Mountain](https://hausumountain.bandcamp.com/?ref=see-saw.fun) and [Orange Milk Records](https://orangemilkrecords.bandcamp.com/?ref=see-saw.fun) (who will be releasing the band’s recently-announced [*Everything Is Clear To Me Now*](https://fruitlooops.bandcamp.com/album/everything-is-clear-to-me-now?ref=see-saw.fun) EP on June 6), Fruit LoOops’ music is aggressively playful, at times reminding me of Nintendo’s [*Splatoon*](https://www.youtube.com/watch?v=Pa2gvGMFoqs&ref=see-saw.fun)scores, especially given frontwoman Jackie Switzer’s penchant for distorting her voice into something resembling whale sonar. This cartoonish quality lends itself to the band's theatrical performances, melding seamlessly with their surreal visuals and tongue-in-cheek gimmickry. I met up with the trio in front of Northside’s iconic KFC/Taco Bell before their show at [DSGN CLLCTV](https://www.dsgncllctv.com/?ref=see-saw.fun)*,* during which they’d stage a game of *Jeopardy!* set in Hell, attempting to answer impossible questions to shave years off their infernal sentence. Looking back at some of the band’s favorite skits, we discussed their distinct sense of humor, affinity for Chicago’s freak scene, and recent embrace of club music. --- ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/05/IMG_7185-copy.jpg) Fruit LoOops, photo by Jude Noel **I wanted to ask about the live soundtrack to the wrestling match you did at Santamania 2023\. Honestly, it was one of the coolest sets I've seen in person. How did that come together?** Patrick Apfelbeck: A lot of our stage sets have had a skit involved, and Jackie and Sam Jayne, who’s our performance artist guy, usually have a face and heel kind of dynamic going on. We’re already involved in a lot of kayfabe as it is, so it seemed like a natural fit. John Hays, who booked the festival, is pretty connected to the indie wrestling world. Overall, it was highly kinetic: a pretty overstimulating thing going on while we’re able to focus on the music, which is a lot of what we’re looking for. Skits that can be happening simultaneously with the songs, because a lot of the time, those elements have to happen separately so each can be heard. **Performance art has always been integral to your live sets. Where did the inspiration to do skits come from?** Jackie Switzer: It’s always kind of a joke. Something we think would be funny, like a cat stuck in a tree, but it’s actually a guy dressed as a cat climbing on a life-sized prop tree. A lot of times, the comedy’s in the size of things or the flatness of the joke. Patrick Apfelbeck: The music can be pretty dissonant, so it’s a good bridge to connect to an audience. At lot of the noise shows in circles we’ve been in could be dour and self-serious. We wanted to lighten the mood while still playing intense stuff. Jackie Switzer: It also changes a lot of what we can play. We did a Beatles set where we took their lyrics but wrote our own songs to them. It’s a good creative exercise. **What’s your favorite skit that you’ve done?** Patrick Apfelbeck: Wrestling was up there for me. We did a part two at a meat raffle [Binski’s Bar](https://www.instagram.com/binskisbar/?hl=en&ref=see-saw.fun) where we were in the ring, but then Sam was running around in the crowd selling human organs out of a shopping cart. Jackie Switzer: It’s also fun when they can go stupid big. There was one for the [Northside Rock N’ Roll Carnival](https://northsiderocks.com/?ref=see-saw.fun) where Aaron, who organized it was like, ‘Hey, I have some fire dancers, want to use them?’ So we came up with the idea of a 50-year-old’s midlife crisis where a man shows up to his son’s birthday with a new wife from Las Vegas and he’s like, “look what I did for you!” He’s bringing out the dancers, cooking rare meat, and he rides around in a cardboard car. **You’ve put out your past two releases on** [**Torn Light**](https://tornlight.bandcamp.com/?ref=see-saw.fun)**. What’s it like working with (shop/label owner) Alex York?** Jackie Switzer: He’s super enthusiastic about us. It’s really rewarding working with someone who also helps book shows and tours when he can. And he really enjoys the music. Kevin Hall: It’s really important to have some sort of center where fringe music is supported when there’s not much backing or capital behind it. For a long time, that seemed to be lacking in Cincinnati, but over time the freak scene here’s gotten bigger. **You’ve been playing out in Chicago a lot lately, too.** Patrick Apfelbeck: There’s a lot of people making really weird, dissonant, aggressive music out there. It’s been a really supportive scene to us. A lot of people I’ve looked up to for a while are out there, like [Fire-Toolz](https://fire-toolz.bandcamp.com/?ref=see-saw.fun) and [The Flying Luttenbachers](https://theflyingluttenbachers.bandcamp.com/?ref=see-saw.fun), and they’ve been really enthusiastic about us. It’s been cool to play with them and get their support. Jackie Switzer: It’s been nice to build bridges, too. We did a show with [RXM Reality](https://rxmreality.bandcamp.com/?ref=see-saw.fun), and he produced our upcoming EP. Then, Angel Marcloid from Fire-Toolz mastered it. Making connections in real life made everything so easy. **There’s a lot of dissonance and chaos in your music. To what extent is it composed or improvised?** Patrick Apfelbeck: It’s 95% hyper-composed. There’s some improvisation on the front end, while we’re still trying to find the optimal way to perform a song, and it might get a little more improvisatory as we get bored of it. But it’s a lot more composed than it might initially seem. The more these songs get played, especially in terms of drumming, you find the best way for the songs to work and for parts to get built up. Kevin Hall: Even with the improvisational elements, there’s already so much of what’s referred to as avant-garde music that’s already so codified. There are all these tropes that may seem like random patterns, but if if you’ve listened to, like, free jazz from the ’70s, you’ve heard them a million times already. So in a way, even that stuff can be “composed” in a sense. Patrick Apfelbeck: Especially in the way we’ve been writing lately. In the past, we’ve written individual sections and stapled them together. More recently, though, Kevin and I are jamming on these longer dance pieces that are 10-15 minute iterations of a few ideas permutated in different ways. You do it again and again until you find the optimal route. The writing process itself can be improvisatory, but then it gets whittled down to the best composition. **Lyrically, where are you coming from?** Jackie Switzer: I don’t know, I think it’s more of the sound of a word that I’m focused on. On earlier recordings, you can’t really tell what I’m saying, and that makes me comfortable. Because if I’m saying my actual feelings, like some lyricists do, I feel like it's too exposed. So now I’m trying to become more confident in using words and thinking very carefully about how they flow. **Speaking of the transitions between records, how do you feel like you evolved between your debut full-length album,** [***Last Chance at the Pharmacy***](https://fruitlooops.bandcamp.com/album/last-chance-at-the-pharmacy-3?ref=see-saw.fun)**, and the follow-up LP,** [***You’re Somebody’s World***](https://fruitlooops.bandcamp.com/album/youre-somebodys-world?ref=see-saw.fun)**?** Patrick Apfelbeck: I think *Pharmacy* was definitely focused on chaotic energy. The one after that, *Somebody’s World*, is a little more melody-forward. But on this new EP that’s coming out in a couple months, the wall of sound has kind of gone away. It's trying to be a lot clearer. I was trying to make fucked up, deranged club music, and part of that does involve opening up the sound, letting things breathe a little more, rather than it being a shred fest. [![Fruit LoOops’ Everything Is Clear to Me Now artwork, EP out June 6 via Orange Milk](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/05/a3898012663_10-1.jpg)](https://fruitlooops.bandcamp.com/album/everything-is-clear-to-me-now?ref=see-saw.fun) Fruit LoOops’ Everything Is Clear to Me Now artwork, EP out June 6 via Orange Milk **Are you playing any of that record tonight?** Patrick Apfelbeck: Yeah, it’s basically a bridge to where we’re trying to go now. We’re basically playing everything from that EP tonight, along with some newer stuff we’re writing. Anything we play tonight is unreleased. Kevin Hall: We’re always behind. **How did you all meet?** Jackie Switzer: I met Patrick when someone from the original lineup was doing a Talking Heads cover set, and I was like “Woah, this is really cool.” Patrick Apfelbeck: And the band that played that show was just the original lineup without Jackie. That was our original synth player and our bass player. And then Jackie had a dream about playing a contact mic attached to fruit in a blender live at [The Comet](https://www.instagram.com/cometbar/?hl=en&ref=see-saw.fun), and she posted about it in this Facebook dream journal collective group. Me and the other people in that band just reached out and were like, “Oh, this sounds pretty dope. Let’s like, try and do it for real.” Since that first set already had a skit-slash-gimmick attached to it, it was an easy thing to keep following up on and iterating on. I know Kevin from playing in another group, [Fourth Wife](https://fourthwife.bandcamp.com/music?ref=see-saw.fun) Jackie Switzer: And Sam and I were random roommates in college. He was an art major and saw us live, and was like “I love this. I want to do this with you somehow.” He worked his way into being an extra, and then started making props and just kept going. **What are the main influences on the upcoming EP?** Kevin Hall: I would say outsider techno and electronic music. Patrick Apfelbeck: [Container,](https://gentledefect.bandcamp.com/album/yacker?ref=see-saw.fun) a little bit. Jackie Switzer: I listen to a lot of Bjork, but I don’t know if that really makes it into the music. Patrick Apfelbeck: The whole last year and a half, I’ve been really [DJ Sabrina the Teenage DJ](https://djsabrinatheteenagedj.bandcamp.com/?ref=see-saw.fun) obsessed. The music doesn’t really sound like that, but the way she thinks about her songs is a mindset I’ve been trying to put forward, rhythmically, in our new material. ### punk this week: powerplant, the vacant lot + 19 more URL: https://see-saw.fun/punk-this-week-powerplant-the-vacant-lot-19-more/ Last updated: 2025-05-02T16:07:20.000Z It’s Punk This Week, see/saw’s weekly punk and rock’n’roll recommendations column. It’s a Bandcamp Friday, which means there’s so much you should be grabbing that’s brand new and well-seasoned. This week, it’s worth highlighting some stellar 7" releases from Powerplant and the Vacant Lot, some standout debuts from around the world, and a pile of stellar hardcore demos. You gotta check out this Happy Death Men album. If you want to go back through the [Punk This Week archive](https://see-saw.fun/tag/punk-this-week/) and find some stuff to buy on this most sacred of capitalist not-holidays, you’ve got to get behind the see/saw paywall. It’s $4/month, $40/year, and there’s a two-week free trial. Subscribers also get the radio archive and monthly bonus podcasts. Throw your support behind this independent, reader-supported publication. Happy May Day weekend, unions and worker-owned businesses forever. --- **Powerplant:** [***Crashing Cars***](https://ppowerplant.bandcamp.com/album/crashing-cars?ref=see-saw.fun) **\[Arcane Dynamics\]** With 2019’s [*People in the Sun*](https://ppowerplant.bandcamp.com/album/people-in-the-sun-2?ref=see-saw.fun), London’s Powerplant briefly felt like the biggest new punk band in the world. The project threaded the needle between post-punk and egg: catchy and oddball with a commanding bark. Everything after that was a frustrating toss-up, and I could no longer feel steadfast excitement about their output once I heard their limp dungeon synth game OST record [*Stump Soup*](https://ppowerplant.bandcamp.com/album/stump-soup?ref=see-saw.fun). I probably would’ve liked it more if it came out under a different project name; it was a ballsy sharp turn, but one that left all the things that made Powerplant exciting out in the cold. They’ve since put out EPs and singles that recaptured that *People in the Sun* momentum, but the caveat loomed: their next move could be another CD-ROM OST snooze. The *Crashing Cars* 7” has me all the way back to excitement. Sometimes when you say a band’s sound has matured, it’s a euphemism for a cloying self-seriousness. But by polishing up their aesthetic to something that sounds closer to ’80s major label new wave than the NWI monsters of DIY, Powerplant have made some of their best work yet. They lean into a synth pop sensibility while maintaining their jagged punk instincts. It’s music that bounces and swoons. Theo Zhykharyev is full-on crooning on the B-side “Never Smile,” veering into the more pop-forward new wave territory of synth punk and the moodiness of goth. Meanwhile, “Crashing Cars” is beatific and danceable. *People in the Sun* was a great record; *Crashing Cars* deepens and expands upon their early instincts. I pray to Christ they stay here for a bit and don’t sleepwalk me back to the dungeon synth toilet. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/05/a1846264343_10.jpg)](https://ppowerplant.bandcamp.com/album/crashing-cars?ref=see-saw.fun) _This post is for paying subscribers only._ ### punk this week podcast 31: kaleidoscope + life URL: https://see-saw.fun/punk-this-week-podcast-31-kaleidoscope-life/ Last updated: 2025-05-06T20:18:19.000Z ![audio-thumbnail](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/media/2025/04/punk-this-week-31_mixdown_thumb.jpeg) punk this week 31: kaleidoscope + life 0:00 /3813.552 1× [Punk This Week](https://see-saw.fun/tag/podcast/) *is see/saw’s weekly podcast from co-hosts Evan Minsker and Nina Corcoran—a discussion of the latest and greatest in the world of punk rock. We talk about six new punk records we’re loving from the past week.* Do you know about [Life](https://life9.bandcamp.com/album/my-heart-the-dreaming-memory?ref=see-saw.fun)? We do! This week, Evan and Nina bring a highlight from the Chicago screamo project’s unceasing recent output and a stellar, intense, radical new high watermark for New York City’s [Kaleidoscope](https://lavidaesunmus.bandcamp.com/album/cities-of-fear?ref=see-saw.fun). We also discussed new ones from [Sex Germs](https://crewcuts.bandcamp.com/album/whiplash?ref=see-saw.fun), [Gype](https://gype.bandcamp.com/album/gype?ref=see-saw.fun), [Johnny Skin](https://inscrutablerecords.bandcamp.com/album/johnny-skin?ref=see-saw.fun), and [Kaput](https://kaputband.bandcamp.com/album/i?ref=see-saw.fun). Read Leor Galil’s [*Chicago Reader* feature](https://chicagoreader.com/music/concert-preview/sadness-debut-beat-kitchen/?ref=see-saw.fun) about Life’s Damián Antón Ojeda and Gem Fair’s [see/saw interview with Evinspragg](https://see-saw.fun/evinspraggs-synth-punk-soliloquies-will-outlast-the-egg-war/). And check out the first episode of our [bonus podcast *see/saw jukebox*](https://see-saw.fun/see-saw-jukebox-01-dan-ozzi/) with special guest Dan Ozzi! --- Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.fun). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/see%5Fsaw.fun/?ref=see-saw.fun), [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun), and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). Have a question you’d like to hear addressed on the show? Want to talk about a new record we didn’t discuss? Want to send a HARD PIVOT bumper? Email us: [see-saw@see-saw.fun](mailto:see-saw@see-saw.fun) *Punk This Week* is made possible by see/saw subscribers; please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-30-chime-oblivion-makin-out/#/portal/) if you enjoy this podcast. You’ll learn about way more punk records than we can pack into the podcast! ### near-arctic state of alert: tracking norway’s recent punk explosion URL: https://see-saw.fun/near-arctic-state-of-alert-tracking-norways-recent-punk-explosion/ Last updated: 2025-05-02T14:27:43.000Z In November 2014, I was at the end of my teenage years, which I’d spent putting up DIY shows and festivals in my tiny home town of Flekkefjord together with both punk and not-so-punk friends. I wanted more of it, so like a ton of people from rural Norway who’ve felt the same way since time immemorial, I had packed my bags and moved to Oslo. One of my earliest toe-dippings into the city’s scene was a local mini-fest at Blitz, a famed autonomous house and venue that’s hosted punk shows and remained a center for activism since the building was originally squatted back in 1982\. The show was put up by a booking collective called Svart Samtid, which I had figured were somehow related to Urbanoia, a hardcore band I had bought the first 7” and a t-shirt off of while living in Flekkefjord. Three of the five acts that played Blitz that November night were bands I knew: the noisy punk trio [Dark Times](https://darktimes.bandcamp.com/?ref=see-saw.fun), the just-plain-noisy west coasters in [Staer](https://discorporate.bandcamp.com/album/staer?ref=see-saw.fun), and the tongue-in-cheek hardcore band [Haraball](https://haraball.bandcamp.com/?ref=see-saw.fun). They were joined by another local hardcore act, Blood Suckers, as well as New York-based headliners Hank Wood and the Hammerheads. The Hammerheads became a new personal favorite, but there weren’t many people to share the discovery with me that night. Being a naïve and hopeful 19-year-old and traveling to Oslo, I expected packed venues and ruckus. Instead, I found a few dozen other people. I remember feeling disappointed, and also left early, still a bit unsure of the way home. (I realize the last bit’s on me.) ![Draumar at the Hundre Tusen Volt i Skallen mini-festival. Barrikaden, Oslo, February 2023.](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/04/Draumar-seesaw.jpg) Draumar at the Hundre Tusen Volt i Skallen mini-festival. Barrikaden, Oslo, February 2023. Fast forward eight years: I brought along my camera to a punk show for the first time in ages. I’d had the idea to do a new fanzine for a few years, but hadn’t gotten around to it. In all fairness, I hadn’t been too inspired to do it either, creatively languid as I was in the midst of the cultural vacuum which was COVID-era lockdown Oslo. But at that point, in February 2023, there’d been [something abrew in town for a few months](https://bndcmpr.co/e15b6c62?ref=see-saw.fun). I’m not the only one feeling it. The show at the Barrikaden basement, a self-managed social housing project that’s been around since 1999, was packed. It was the second night of a two-day festival called Hundre Tusen Volt I Skallen, the night before having taken place at Blitz with shows by local acts [Teppebombe](https://teppebombe.bandcamp.com/album/teppebombe?ref=see-saw.fun) and [Assistert Sjølmord](https://assistertsjolmord.bandcamp.com/album/assistert-sj-lmord?ref=see-saw.fun), as well as Copenhagen-based [Indre Krig](https://indrekrig.bandcamp.com/album/destroyer?ref=see-saw.fun). At Barrikaden, there were four bands playing. The debut show of local band [Asinin](https://roachlegrecords.bandcamp.com/album/demo-9?ref=see-saw.fun) attacks the basement with a lone rave strobe to go with the intense, dual-guitar-wielding barrage. Gloomy local act [Draumar](https://draumar.bandcamp.com/album/live-p-blitz-2024?ref=see-saw.fun) engulfed the room in a mid-tempo slew of hardcore with a hint of Norwegian black metal. After Gothenburg’s [X2000](https://x2000.bandcamp.com/album/g-tico-tropical?ref=see-saw.fun), Indre Krig came out for a surprise set. I’d already exchanged some questions with them for a potential interview in the lockdown era, and it was a major energy boost to see them tear the room apart with their frenetic riffage. Empty cans flew everywhere as the room went wild. The crowd at that show was indicative of just how packed most shows around here have been ever since. Sure, there are familiar faces who've been around for years, including local indie rocker Erik Lindo, a fellow punk expat from southern Norway behind the spooky hardcore offshoot [Que Lindo](https://quelindo666.bandcamp.com/?ref=see-saw.fun). But at these shows, there’s also a horde of kids I’d never seen around before. ![Asinin’s debut show at the Hundre Tusen Volt i Skallen mini-festival. Barrikaden, Oslo, February 2023.](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/04/Asinin-seesaw.jpg) Asinin’s debut show at the Hundre Tusen Volt i Skallen mini-festival. Barrikaden, Oslo, February 2023. Draumar’s vocalist Sig and Asinin’s guitarist Mats are the co-founders of the Den Bisarre Lyd collective, which were responsible for putting up the Hundre Tusen Volt i Skallen festival along with other recent punk shows. In March 2023, a month after the Barrikaden show, I decided to go ahead with my new zine. I met the two of them to ask them what’s going on. “I think for many people, the pandemic times were tough,” said Sig. “It’s crazy to see people at the shows who I have no idea where are coming from.” Mats joins in: “A disclaimer: We haven’t put up too many shows yet. But it’s fun to see the turnout being so good. Young people have been on the lookout for alternative sources of culture and music. It shows the need for a scene like this, where this music can unfold and develop. There’s definitely a heightened interest for it now than before the pandemic.” “I can’t wait for these kids to start making their own bands,” said Sig. “I’ve been very insistent towards some of the youngsters I’ve encountered at the shows. ‘Make bands and we’ll set you up!’ That has to be the next step.” Later in 2023, Den Bisarre Lyd organized a band workshop at Blitz aimed at enticing some of the younger people in the scene to start their own projects. Initially, not much came of it. But for some of the attendees, a spark was ignited. Among them were the members of [Molbo](https://molbo.bandcamp.com/?ref=see-saw.fun). Today, they’re one of the most active and prolific of the new punk wave washing across Norway. At that point, however, the band had yet to form. “I joined Den Bisarre Lyd to help out with the band workshop, get things moving. There, I met Herman, who was participating in the workshop,” said Roksana, Molbo’s bassist. Guitarist Johannes, who plays with Roksana in the punk band Hudkreft, adds: “Not much came of it then, but when we met Herman again a month later at the Copenhagen punk festival K-Town, he and I bonded over our love for acts like Powerplant, Coneheads, CCTV. We talked about how cool it would be if someone in Oslo started an egg punk band.” “A bit later, on my way to the toilet, I told Johannes ‘let’s see who starts one first,’” Herman said laughing. “And I thought to myself, ‘it sure as hell is not going to be you.’ But after K-Town, when me and Roksana sat down to piece things together, we realized it would be better to start a project with Herman rather than separate bands. So we asked him to join, and he accepted,” said Johannes. ![Molbo and the void. Blitz, Oslo, May 2024.](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/04/Molbo-seesaw.jpg) Molbo and the void. Blitz, Oslo, May 2024. Having their first practice by the tail end of August 2023, Molbo’s first show took place a few weeks later, in October 2023 at Barrikaden. Molbo shared the bill with Swiss band S.G.A.T.V. and the local five-piece Teppebombe. Active since 2022, Teppebombe were one of the first new bands to form in the post-pandemic Oslo hardcore scene—a particularly vicious d-beat “tactical bomb unit” armed with a saxophone and the guttural growls of a vocalist with a tendency to wrap his head in plastic and paper shopping bags. That bag-clad vocalist Mikael—who has recently started organising shows of his own under the Fritt Fall moniker—saw first-hand how the crowds suddenly grew dramatically. “I think a lot of people here were just eager for something to happen that wasn’t too commercial or ‘proper,’ in a way. A lot of people, especially younger people, were beginning to find their way to shows, which before the pandemic had been attended mostly by scene veterans in their thirties or forties.” ![Teppebombe, POV from the Blitz pit. Oslo, April 2024.](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/04/Teppebombe-seesaw.jpg) Teppebombe, POV from the Blitz pit. Oslo, April 2024. For a brief time, Mikael was worried shows might get too crowded by people jumping trends, or that it could be co-opted by profit-makers, dulling some of the edge off it. “Luckily, this didn’t turn out to be the case, and so there hasn't been a need to gate-keep like you see in some scenes in other countries. Meanwhile, a lot of the young people attending have turned out to be stayers and keep going to shows, which is cool to see. The energy at shows has also been kept up at a high level throughout the last couple of years, making it worthwhile for touring bands to stop by.” Aside from Blitz and Barrikaden, shows have taken place at the riverside Boksen venue just around the block from Barrikaden, as well as the Endless Tinnitus recording studio, run by local sound tech and rocker Mr. Møkk. He’s been a scene fixture for decades, but has recently taken the stage with new bands [Invisible Hand](https://invisiblehandoslo.bandcamp.com/album/2023?ref=see-saw.fun) and Stabber. The punk lineups are an ever-revolving door of both older bands like [Problems](https://fuckproblems.bandcamp.com/?ref=see-saw.fun), Draumar, and Teppebombe, as well as new acts like [Accelerator](https://acceleratorhc.bandcamp.com/album/accelerator?ref=see-saw.fun), [AG-3](https://ag-3.bandcamp.com/album/demo?ref=see-saw.fun), and [Null Tone](https://nulltone.bandcamp.com/album/kutt?ref=see-saw.fun). ![Local legends Problems keeping it real after 15 years, here at their first show after their comeback 7” – and contender for the best hardcore release in 2024, period – named ‘Beg for Release’. Blitz, Oslo, June 2024.](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/04/Problems-seesaw.jpg) **Local legends Problems keeping it real after 15 years, here at their first show after their comeback 7” – and contender for the best hardcore release in 2024, period – named ‘Beg for Release’. Blitz, Oslo, June 2024.* It was after a punk show at Blitz in January 2024 that local audience regulars Bjørn-Nicklas and Jelle toyed with the idea of making music of their own. [Bjørn-Nicklas had already churned out stark black-and-white photos](https://www.instagram.com/bjornnicklas/?ref=see-saw.fun) of the punk scene he saw unfolding before his eyes for a while, but hadn’t really played in a band yet. Inspired by the surge in activity, the duo formed [Anemisk](https://anemisk.bandcamp.com/?ref=see-saw.fun), texting each other already the following day and sending riffs back and forth. “I spent an hour making my first song, ‘Pryl.’ I recorded the guitars and vocals, programmed the drums in GarageBand, then Jelle came to my house and added bass to the recordings,” remembers Bjørn-Nicklas. “All of a sudden, we had a demo, which we released in the middle of March 2024\. I think that’s the moment we realised *wow, we’ve actually made something, and this could become a proper band*. We asked my roommate Tor Håkon, who also drums for Molbo, to join, and brought on board Hudkreft’s guitarist Leah.” ![Anemisk playing their debut show at Blitz. Oslo, May 2024.](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/04/Anemisk-seesaw.jpg) Anemisk playing their debut show at Blitz. Oslo, May 2024. Two months after releasing the demo, Anemisk played their first show at Blitz on May 30, 2024, at a Den Bisarre Lyd-presented bill—a release fest for the first edition of the [*Armering*](https://armeringoslo.no/?ref=see-saw.fun) zine. It’s the same zine I had picked up work on a year prior. Like Anemisk, it was inspired by the local punk explosion. At some point during the evening, a lanky local teen passed me a note with a Bandcamp download code of his new band’s demo, due out the next day. The band is Shament, and their debut release turns out to be one of the best demos I’ve heard in years—angsty and moody, yet crushing and ferocious at the same time. They’ve become a mainstay at punk lineups all over town. The last band to appear on the Blitz bill on May 30, 2024, pulled up in their van, unloaded their gear, and got on stage just before the show was about to start. The 17-year-old members of Deponi hit the stage at Blitz in front of a maxed-out capacity and delivered a frantic set of crusty hardcore, the tunes fresh off of their recent demo tape. It was their second show of the night. The reason for their just-in-time arrival? They’d just played a music industry showcase at a sauna-and-shows event complex by the Oslofjord. ![Deponi flanking what it’s all about. Blitz, Oslo, May 2024.](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/04/Deponi-seesaw-1.jpg) Deponi flanking what it’s all about. Blitz, Oslo, May 2024. The day after, the band had two more shows planned: a matinee at Blå in Oslo, before flying back to the Norwegian west coast for a homecoming appearance in their hometown of Stavanger. Numbering around 150,000 residents to Oslo’s 700,000, Stavanger is a much smaller city, but has lately seen a punk and thrash resurgence in many ways reflecting Oslo’s. The Stavanger boom began not in decades-old punk houses, but in communal youth clubs in the city suburbs. The crusty hardcore punks in [Håndgranat](https://www.instagram.com/haandgranat/?hl=en&ref=see-saw.fun) and the thrashers in [Autonomie](https://autonomienor.bandcamp.com/album/no-peace-only-violence?ref=see-saw.fun) were the first kids to make their mark on the scene, drawing hundreds to all-ages shows in suburban youth clubs from 2021 onwards. The slightly younger kids in [Deponi](https://deponi.bandcamp.com/album/angrip?ref=see-saw.fun) followed soon after. “I moved to Norway from Chile at 9 years old and struggled to fit in,” said Anthony, vocalist for Deponi. “When I got to know Deponi drummer Cecilia and became a part of the punk scene here, that’s when I started to feel safe. I’m a pretty quiet guy, always have been. The band is the only reason I’ve started talking.” ![Håndgranat riffing off one another in the Grottene basement, with Deponi’s Natti filling in on bass. Thumbs up courtesy of Århus-based Slytter. Grottene, Stavanger, March 2023.](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/04/Ha-ndgranat-seesaw.jpeg) **Håndgranat riffing off one another in the Grottene basement, with Deponi’s Natti filling in on bass. Thumbs up courtesy of Århus-based Slytter. Grottene, Stavanger, March 2023.* Not long after they started going to shows together, Anthony and Cecilia started Deponi and performed their first show in November 2022 at Stavanger’s youth club Metropolis. They shared a bill with the aforementioned Autonomie, among others. The band soon became one of the scene’s most active, releasing the [*Angrip!* EP](https://deponi.bandcamp.com/album/angrip?ref=see-saw.fun) on local label Ond Sirkel in April 2024\. Ond Sirkel is run by Håvard and Anders, two brothers who had previously put out Håndgranat’s debut EP on cassette. Interestingly, the brothers were also behind the Svart Samtid gigs in Oslo way back when I first started going to hardcore shows, having formed the “Svart Samtid west coast division” named Den Kulturelle Søppelsekken after moving back home to Stavanger, later rechristened Ond Sirkel and expanded to a label as well as a live promoter. ![Deponi playing a surprise set in a Bergen living room, April 2024.](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/04/Deponi-seesaw-2.jpg) **Deponi playing a surprise set in a Bergen living room, April 2024.* Deponi’s four-shows-in-two-cities-in-36-hours embodies their stint in miniature. In just two effective years as a band, they put out their debut EP, played a bunch of local shows and went on a summer tour of Scandinavia and the Baltics, including festival appearances with the Stupids and a support slot for Dropdead in Oslo. Now, they’re putting the band to rest. “I’m moving to Bergen to study photography,” said Anthony. “We all have our other projects. I’m making my fanzine, [*Strid*](https://www.instagram.com/stridzine?ref=see-saw.fun), with photos and interviews. Our guitarist Geir has his own band, [Rapid Death](https://rapiddeathh.bandcamp.com/album/death-shock-demo-2?ref=see-saw.fun), and our drummer Cecilia has started a new band with the Ond Sirkel brothers and Vincent from Håndgranat on drums: [Psykostat](https://psykostat.bandcamp.com/album/psykostat-ep?ref=see-saw.fun). They’re insanely good.” Traveling to Stavanger in March 2025 for the Ond Sirkel Festival, I got to experience Anthony’s testimonial first-hand. On stage is Psykostat with Deponi’s Cecilia front and center, putting forth an intense vocal delivery which reminds me of Exit Order at their best. Later on, local grindcore powerhouse [Psudoku](https://psudoku.bandcamp.com/?ref=see-saw.fun) has recently transformed from 15 years as a one-man band with an online cult following into a live four-piece, delivering a dazzling set, which travels stateside for a weeklong tour in June. On stage with Psudoku? Kristoffer, who also played the Svart Samtid Fest back in November 2014, then as a part of Staer. In punk, you never know how long things last. Bands come and go in the blink of an eye. I think about how the underground scene has evolved in the 10+ years that have passed. There are new branches on the tree, while some of the old ones are still going strong. I love watching the new kids claim their rightful space at the vanguard of the scene, their burst of energy rubbing off on veterans who, in turn, might even pick up a trick or two. --- [Listen to Erik Egenes’](https://bndcmpr.co/e15b6c62?ref=see-saw.fun)[ full accompanying playlist “Near-Arctic State of Alert.”](https://bndcmpr.co/e15b6c62?ref=see-saw.fun) --- *Erik Egenes (b. 1994) is a writer based in Oslo, Norway. He runs* [Armering](https://armeringoslo.no/?ref=see-saw.fun)*, a fanzine and promoter imprint shedding light on punk and other forms of underground music in Norway and beyond.* ### see/saw jukebox: dan ozzi URL: https://see-saw.fun/see-saw-jukebox-01-dan-ozzi/ Last updated: 2026-06-04T22:12:18.000Z *see/saw jukebox* is a new monthly bonus podcast from *Punk This Week* hosts Nina Corcoran and Evan Minsker, available exclusively to [paid see/saw subscribers](https://see-saw.fun/#/portal/)! (There's a two-week free trial!) In each episode, Nina and Evan are joined by a guest, and all three pick a perfect punk record to add to the idyllic punk jukebox of their mind. Here’s a trailer: ![audio-thumbnail](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/media/2025/04/seesawjukebox01-promo_mixdown_thumb.png) introducing see/saw jukebox! 0:00 /366.408 1× In the first episode of *see/saw jukebox*, we welcome punk author, journalist, zine-maker, and all-around great guy [Dan Ozzi](https://www.danozzi.com/?ref=see-saw.fun)! Dan recently co-authored [Mark Hoppus’ memoir *Fahrenheit-182*](https://www.harpercollins.com/pages/fahrenheit182?ref=see-saw.fun), which topped *The New York Times*’ best seller list in its opening week. What are the first three records going into the see/saw jukebox? Where are our respective mind jukeboxes? Did Nina really jump out of Dan’s car in L.A. to chase after Jack Black??? [Subscribe to see/saw](https://see-saw.fun/#/portal/) and listen below! --- _This post is for paying subscribers only._ ### punk this week: sex germs, kaleidoscope, elvis 2 + 12 more URL: https://see-saw.fun/punk-this-week-sex-germs-kaleidoscope-elvis-2-12-more/ Last updated: 2025-04-25T21:47:59.000Z It’s Punk This Week, see/saw’s weekly new punk and rock'n'roll recommendations column. There’s some hotly anticipated new ones out this week from Sex Germs, Kaleidoscope, Elvis 2, G\*U*\**N\*N, Bart and the Brats, and PISS ME OFF. As always, there are some real gems peppered throughout this column for lovers of garage punk, hardcore, egg punk, and more. If you want to read about all the best new punk and rock'n'roll records this week and every week, get yourself behind the see/saw paywall for [$4/month or $40/year](https://see-saw.fun/punk-this-week-perverts-again-makin-out-iron-lung-cold-meat-25-more/#/portal/). There’s a two-week free trial, too, if you want to see what it’s like. That’s a weekly email in your inbox that offers a detailed, curated selection of must-listen new punk and rock'n'roll records. Paid subscribers also get the [see/saw radio](https://see-saw.fun/see-saw-radio/) archive and, very very soon, bonus podcasts. Free subscribers get writing every week, too! [Please subscribe](https://see-saw.fun/punk-this-week-perverts-again-makin-out-iron-lung-cold-meat-25-more/#/portal/), free or paid, to support and help grow this independent music journalism operation. --- **Sex Germs:** [***Whiplash***](https://crewcuts.bandcamp.com/album/whiplash?ref=see-saw.fun) **\[Crew Cuts\]** It’s been a year and change since Leicester’s Sex Germs released [*Germcore*](https://sexgerms.bandcamp.com/album/germcore?ref=see-saw.fun), an exceptional and exceptionally erratic hardcore record. Their new album *Whiplash* blasts out the gate, showcasing a band impossibly finding a new gear beyond where they’ve been before. The wildfire vocals of the frontperson whose punk name is Skeevy are just completely unhinged—the perfect pairing with the band’s bludgeoning, deeply intense approach. Some of these songs whip by in a minute or less, and there are moments where they seem to slow down (on “Sellout”) before spilling some death growls and picking all the way back up. There are new wave sensibilities (“Trippin’”) and punchy egg rhythms (“I Like to Eat”) peppered in with abrasive hardcore. A sick new record from an unpredictable and riveting band. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/04/a0116473289_10.jpg)](https://crewcuts.bandcamp.com/album/whiplash?ref=see-saw.fun) --- _This post is for paying subscribers only._ ### punk this week podcast 30: chime oblivion + makin’ out URL: https://see-saw.fun/punk-this-week-podcast-30-chime-oblivion-makin-out/ Last updated: 2025-05-06T20:18:48.000Z ![audio-thumbnail](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/media/2025/04/punk-this-week-30_mixdown_thumb.jpeg) punk this week 30: chime oblivion + makin’ out 0:00 /3939.936 1× [Punk This Week](https://see-saw.fun/tag/podcast/) *is see/saw’s weekly podcast from co-hosts Evan Minsker and Nina Corcoran—a discussion of the latest and greatest in the world of punk rock. We talk about six new punk records we’re loving from the past week.* Following an intense session of whittling down which records from this [stacked release week](https://see-saw.fun/punk-this-week-perverts-again-makin-out-iron-lung-cold-meat-25-more/) would get discussed, Evan and Nina plugged in microphones to ponder the essentials: cartoon killer tomatoes, movie concessions, soft pretzel sticks, and a toddler’s first favorite movie. After [interviewing John Dwyer and David Barbarossa for Stereogum](https://www.stereogum.com/2304537/osees-john-dwyer-bow-wow-wows-david-barbarossa-go-deep-on-their-wild-new-band-chime-oblivion/music/?ref=see-saw.fun), Nina brought the excellent debut album from [Chime Oblivion](https://johndwyer.bandcamp.com/album/chime-oblivion?ref=see-saw.fun). Evan brought the fantastic debut album from the Minneapolis band [Makin’ Out](https://makinout.bandcamp.com/album/living-in-a-glass-house?ref=see-saw.fun). They also talked about the new records from [Heelplant](https://heelplant.bandcamp.com/album/disagreements?ref=see-saw.fun), [Cold Meat](https://staticshockrecords.bandcamp.com/album/cake-and-arse-party?ref=see-saw.fun), [Slags](https://slags.bandcamp.com/album/lick-it-2?ref=see-saw.fun), and [Coffee Stain](https://11pmrecords.bandcamp.com/album/good-bad-taste?ref=see-saw.fun). Make sure to check out the new [Iron Lung record](https://ironlungrecords.bandcamp.com/album/adapting-crawling-lungs-300?ref=see-saw.fun) and read David Anthony’s comprehensive [interview with them](https://see-saw.fun/iron-lung-see-no-end-in-sight/) for see/saw. --- Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.fun). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/see%5Fsaw.fun/?ref=see-saw.fun), [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun), and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). Have a question you’d like to hear addressed on the show? Want to talk about a new record we didn’t discuss? Want to send a HARD PIVOT bumper? Email us: [see-saw@see-saw.fun](mailto:see-saw@see-saw.fun) *Punk This Week* is made possible by see/saw subscribers; please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-29-fugitive-bubble-teo-wise/#/portal/) if you enjoy this podcast. You’ll learn about way more punk records than we can pack into the podcast! ### evinspragg’s synth punk soliloquies will outlast the egg war URL: https://see-saw.fun/evinspraggs-synth-punk-soliloquies-will-outlast-the-egg-war/ Last updated: 2025-04-21T15:48:04.000Z [Evinspragg](https://evinspragg.bandcamp.com/?ref=see-saw.fun)’s newest album begins with the mosquito din of a menacing synthesizer before bursting into Eric Mayer’s ([Tenement](https://tenement.bandcamp.com/?ref=see-saw.fun), [Obsess Tact](https://obsesstact.bandcamp.com/album/drop-by?ref=see-saw.fun)) first soliloquy on [*The Neo Forms of Soliloquy*](https://evinspragg.bandcamp.com/album/the-neo-forms-of-soliloquy?ref=see-saw.fun) in which he asserts “isolation breeds neurotic tendencies.” Partially crafted in the early phase of the COVID-19 pandemic, the record dives deep into the interior brain lake and bursts to the surface with revelations delivered in an impressive number of words per capita. It’s synth punk dunked into ’80s hardcore with catchy bass riffs, angular guitars and pensive moodiness. The Evinspragg live band is composed of Eric on vocals, Patrick and Joe from [Bad Crime](https://badcrime.bandcamp.com/?ref=see-saw.fun) on bass and guitar, [Julia Blair](https://juliablair.bandcamp.com/album/better-out-than-in?ref=see-saw.fun) of solo and [DUSK](https://countrydusk.bandcamp.com/album/glass-pastures?ref=see-saw.fun) notoriety on synths, and Jesse from [Big Laugh](https://biglaugh.bandcamp.com/album/consume-me?ref=see-saw.fun) on drums. It’s a powerful melange of characters from the Wisconsin rock universe. But the record itself was written and performed entirely by Eric Mayer with the exception of additional vocals by Sevan Cat Ries (of [Credentials](https://credentials.bandcamp.com/?ref=see-saw.fun)). Songs like “Still Waters” float on a gentle dark river of synthesizers while “Hard to the Core” sucks you into a whirlpool of crunchy guitars and blistering drums. “I Couldn’t Care Less” crosses the six-minute threshold and feels like a chase sequence; the boogeyman chasing you is your own thoughts. The Midwest is a portal for a unique freakiness a la Devo a la Brainiac a la Cruelster, and Evinspragg exists comfortably in that canon. *The Neo Forms of Soliloquy* will make you dance and creepy crawl, but most of all, it’ll make you think. “Can you be normal,” Mayer asks himself on this record, and in our conversation over Zoom on a Friday evening, normality isn’t exactly on the table. We talked about stepping out from behind the drums to the front of the stage, catching a stray during punk discourse, and processing self-perception through art. --- **How did this project start?** I started messing around with eight tracks, and I started to demo songs for the bands that I was in at the time. And it was also a way for me to practice recording. And then I just learned right off the bat, *wow, I can actually play pretty well by myself*. It wasn't like, *I’m going to start a solo project*. Just that it was actually pretty easy for me. Starting a solo thing was lurking in the back of my mind, but I had a deathly fear of stepping up to the microphone and projecting my voice, like hearing myself back. I'm like, *There’s no way I can do that*. And then, I don’t know, the idea started to grow. I got my job back, actually, at the tofu company and there’s plenty of time to just daydream. So I started thinking about these things and then I was just like: I’m gonna do it. I’m gonna record a song. And I recorded a song and I absolutely loved it. I loved the way it turned out. I loved how I got it *on*, like exactly how I wanted, and then it just completely grew from there. It's even funny too, because I recently listened to those first recordings and I can tell that I’m nervous about, you know, projecting into the mic. But I left them as is because I feel like they should be that way. **Yeah, I think that having the freedom to experiment on your own is really interesting. I** [**talked to Moses**](https://see-saw.fun/peace-de-resistances-moses-and-the-art-of-solo-project-glam-sleaze/) **and he described a similar process of once you figure out you can do it, it's like a toy box. What was the first song you recorded?** It’s called “The Man in Pain,” which is actually inspired by a guy I was working with at the tofu factory. He was in his sixties and I just kind of idly observed him. Him being his age, he wasn’t moving around too gracefully. I’m just like, man, that guy looks like he’s in pain. Like he looks like he’s not having a good time. That’s actually what was like ruminating in my head. And I’m like, maybe I could formulate a song about that. Not like pointing my finger at him, but it was like this concept of someone who’s trying to live their life, but they’re in so much pain all the time. And it grew from there, I guess. The original idea I had for Evinspragg was it was going to be this split personality where I was talking to myself, and that's actually kind of like the reason the concept of this new album is what it is. Initially, I was like, *well, I can’t really stretch that idea farther than like a handful of songs*, so I kind of scrapped it. But then I had the idea to do a few songs that way, so I thought I’d use it as the concept for this new record. **When you’re approaching lyric writing, are you writing about things that you see and processing them through your lens, or is it a mix of what you’re observing outside yourself and what you’re inwardly observing? Since some of these songs are soliloquies, do they feel more personal?** I feel like they’re personal, but I wanted to portray them in a way that could be universal. I think we all go through these kind of feelings sometimes. A few of the songs I actually wrote years ago when we were still knee deep in COVID, still unsure about what's going to come out of that. I really stuck close to the social distancing and being at home and not going anywhere. I got laid off from work for over a month, so I had a lot of time to be by myself. I just learned these repetitions that I started to develop in that time. All these songs are kind of personal to me in that sense. But I think, like I said, they’re universal. I think we all kind of go through that sometimes. And it’s kind of like, how could I capture some sort of like pop song sensibility for these songs to where you really relate to it. Not that you have to relate to it, but it’s there if you want it. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/04/a2791973750_10-1.jpg)](https://evinspragg.bandcamp.com/album/the-neo-forms-of-soliloquy?ref=see-saw.fun) **I also think something interesting about these songs and their presentation versus the last release is that this one feels more accessible. Both releases obviously have an angular sound, but this one sounds softer almost, or like the edges are more rounded than the last release. Was that intentional, given that these are kind of more like soliloquies?** That’s an interesting perspective because there’s eight songs, and the first four, they kind of go in order of how I wrote them and recorded them. The first four were recorded in September 2021, and they didn't have a lot of synth on them. So they were very angular and jagged at the time. And then I took a break from playing music just out of losing interest in it and focusing on other things. During that time, I was still very interested in finding new music and listening to new music. I just started hearing all these little nuances in things that I was listening to—and it's funny to say because I started listening to a lot of like, Top 40 synth pop, like Duran Duran and Spandau Ballet. And they had all these little things in the underlaying of the song to carry these little things, and I was really taking note of that. So then I went back and I recorded all these synth parts, and the synth parts are meant to be kind of like synth pop. They’re not supposed to be nasty or jagged or anything like that. It’s meant to have a pleasant melody, I suppose. **It also adds a little bit of softness or levity because I do feel like you write music for the ruminators, you know what I mean?** It’s a lot of mirror reflection stuff, but it’s also observation too, like what I see people doing that reflects to myself. And it’s just like, why do I find this important to keep up with? This thought of being perceived—it’s almost kind of scary in a way. Like, why do I care about that? Like why is that important to me? Why do I need to look punk? Why do I need to do anything like that? Why can’t I just be like a normal person? And I think I was trying to capture that in some of these songs, but that’s also the things I’m talking to myself about in general. And that’s where the concept of this record is rooted. It’s definitely me hashing out my inner thoughts and the things I’ve jotted down in that time. **It feels like there’s a distinct visual aspect to the project in its live form, so I’m curious how you’ve molded that more specifically for the live show.** Well, that’s kind of funny because when I started the project, I never intended it to be played live. So I wrote so many words and I can’t play an instrument and sing at the same time \[*laughs*\]. Like, yeah, I could practice, but I’m not gonna do that. So when I actually did get some people to be in the live band, I was just kind of like, “Listen, I don’t wanna wear jumpsuits and make it a costume, but we should dress nice.” I think it kind of stemmed from my fascination with the way Gang of Four looked when they played. They were wearing suits, they were wearing fancy button-up shirts. They looked like they were on a business call, you know? And that was appealing to me. I think it goes over people’s heads a little bit. **You talking about Gang of Four and Duran Duran—there was a period of music where the visual was kind of a shorthand for what you maybe could expect to hear. But now that we don’t live in a monoculture, it’s like much harder and also styles don't mean anything.** Yeah, I don’t think us wearing button-up shirts would pinpoint what we’re gonna sound like but if I guess for the real heads out there? They could probably see a connection. These are the strange things I think about, and honestly, though, that’s the fun part, the conceptualizing. It’s like almost sometimes more fun for me than the actual doing it part. And even the mention of Duran Duran. When I was a kid I never paid attention to that kind of stuff because I hated the imagery. I hated the way they looked. I’m like, but now if you look at the record cover I can put two and two together. I wanted something that’s kind of sexy, but it has a vibe to it. It’s moody. And sometimes those Duran Duran album covers are the same way. And I was kind of fascinated by that. **You’re a painter as well. What’s your approach to making album art versus how you’re approaching a painting? Is it two totally different practices or is there some crossover?** I didn’t want to do anything that was too predictable. Like the people who know me obviously know I paint, and I felt if I did a painting for the record cover, that would have been very obvious, very predictable. So what’s something I could do that might be out of left field? Not that I haven’t taken selfies before, or I mean, even the first album has a portrait of me. But what could be the next thing? So we used some lighting and some shadows and a plastic background. I was just trying to think of something I haven’t done before something that wouldn’t be too obvious. I feel like my paintings and the music definitely coalesce, but I didn’t want them to be so smushed up together. If you were to listen to the music and never see my paintings, it wouldn’t really matter. But if you did see them, you’re like, *This makes sense.* Maybe. I don’t know! But that’s why art is cool, because it’s free to interpret, I suppose. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/04/IMG_5064.jpeg) courtesy the artist **OK, I feel like I am legally obligated to ask—did it feel weird to have the album’s announcement get entangled in the egg punk eulogy discourse?** Yeah, a little bit. I was kind of like, oh, fuck, I’m totally caught. I’m an innocent bystander caught in the crossfire over this. It was never meant to be like a middle finger to anybody, and I didn’t realize that \[eulogy\] was going to be attached to my album blurb. So I was like, *Oh, shit*. I was so excited about the song finally coming out. That song’s almost four years old at this point. So excited! And then, yeah, it was just an explosion online. Like, *well, I guess I’ll be pushed to the side a little bit here.* **Are you planning on doing any touring for this project?** I would like to travel with it eventually. I guess my vision for it is like I’ll let it go as long as it needs to. I don’t need to keep releasing records or anything like that. We do have a few shows coming up in May, two of them are out of town, which will be our first time outside of Milwaukee, and they’re all circled around the release of the record. So I’m pretty excited about that! The other band I’m in wants to tour later this year. And it’s kind of like, well, I can only do one at a time. And I don’t want to do the two band and one tour thing. **When it comes to forming a band, I feel like it’s just easier to collaborate with people you're already collaborating with.** Well, the reason why I chose the people that are in the live band is because they have been in bands previously and they’re in a band together now. I already knew they had chemistry with each other, so there’s no awkwardness of new people meeting each other. They already know each other. They’re already synced, on the same page. It truly was that experience. I didn’t have to teach a single thing to any of them. They all came super prepared, and they all knew the songs right away and were all on the same page with each other. And it was actually something I had to step back in awe of. I was like, *wow, this is actually kind of crazy*. Because would I be this intense about it? I don’t know. **That's awesome. You’re like, *Wow, you guys showed up more prepared than me.*** Yeah, truly. were, they’re the ones pushing me to do it. And then they’re the ones in the group chat, like, “Let’s get this going!” And I’m like, “Yeah, OK.” **That’s a good team to have behind you.** I picked the best ones! ### punk this week: perverts again, makin’ out, iron lung, cold meat + 25 more URL: https://see-saw.fun/punk-this-week-perverts-again-makin-out-iron-lung-cold-meat-25-more/ Last updated: 2025-04-19T00:14:05.000Z Hey it’s Punk This Week, the Friday column from see/saw running down and recommending the week’s essential punk records. After taking some time off, we return to an absolute gold mine of new punk records. All those bands in the headline are legends, and that doesn’t scratch the surface when you consider the new records from Evinsprägg, Coffee Stain, John Dwyer’s Chime Oblivion, Fan Club, Why Bother?, Electric Prawns 2, Zero Bars, and Molbo. There’s some unbelievable new stuff out this week by brand new bands from all over the world. If you want to learn about all 29 records, you’ve got to get behind the see/saw paywall! Hand over [$4/month or $40/year](https://see-saw.fun/punk-this-week-the-number-ones-beer-the-ex-19-more/#/portal/) for a paid see/saw subscription; there’s a two-week free trial if you want to see what it’s like. It’s a weekly email in your inbox that offers a detailed, curated selection of must-listen new punk and rock'n'roll records. Paid subscribers also get the [see/saw radio](https://see-saw.fun/see-saw-radio/) archive and, soon, bonus podcasts. Free subscribers get writing every week, too, but the whole thing doesn’t cost much! [Please subscribe](https://see-saw.fun/punk-this-week-the-number-ones-beer-the-ex-19-more/#/portal/), free or paid, to support this independent music journalism operation. --- **Perverts Again:** [***The New Man***](https://saalepower2records.bandcamp.com/album/the-new-man?ref=see-saw.fun) **\[Saalepower 2\]** A day at the metroparks down by the rocky rivers with an owl watching from overhead is soundtracked by some sick, choppy power chords. When shit turns sideways on “Killer in the Metroparks,” it’s delivered strangely matter-of-factly. “Oh my god there’s gunshots,” is a call and response observation, the response from a voice pitched down super deep. Later they’re musing about the assassination of Shinzo Abe. When they strain to invent a new cuss word, Cleveland’s Perverts Again got a full-on laugh out of me, but so much of *The New Man* have their eyes wide open, stating the grim facts of a day-to-day reality. It’s a slurry of dark comedy about the very real world we find ourselves in. The hooks are stilted and sick. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/04/a1250418278_10.jpg)](https://saalepower2records.bandcamp.com/album/the-new-man?ref=see-saw.fun) --- _This post is for paying subscribers only._ ### punk this week podcast 29: fugitive bubble + teo wise URL: https://see-saw.fun/punk-this-week-podcast-29-fugitive-bubble-teo-wise/ Last updated: 2025-04-22T12:55:07.000Z ![audio-thumbnail](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/media/2025/04/punk-this-week-29_mixdown_thumb.jpeg) punk this week 29: fugitive bubble + teo wise 0:00 /3906.504 1× Punk This Week *is see/saw’s weekly podcast from co-hosts Evan Minsker and Nina Corcoran, breaking down the latest releases in the world of punk rock. We talk about six new punk records we’re loving from the past week.* After two weeks off, Evan and Nina get back to snack talk, read a snacks manifesto from Science Man, discuss the recent see/saw year 1 parties (skip to the 20-minute mark if you wanna get into record talk), and discuss new records from [Fugitive Bubble](https://sorrystaterecords.bandcamp.com/album/what-will-happen-if-we-stop?ref=see-saw.fun), [Teo Wise](https://turbodiscos.bandcamp.com/album/fermo-o-sparo?ref=see-saw.fun), [STERÖID](https://cryptofthewizard.bandcamp.com/album/chainmail-commandos?ref=see-saw.fun), [ANIKA](https://anika.bandcamp.com/album/abyss?ref=see-saw.fun), [Primal Brain](https://primalbrain.bandcamp.com/album/is-it-all-a-game?ref=see-saw.fun), and [Kills Birds](https://killsbirdsmusic.bandcamp.com/album/crave?ref=see-saw.fun). --- Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.fun). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/seesawdotfun/?ref=see-saw.fun), [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun), and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). Have a question you’d like to hear addressed on the show? Want to send us a HARD PIVOT bumper? Email us: [see-saw@see-saw.fun](mailto:see-saw@see-saw.fun) *Punk This Week* is made possible by see/saw subscribers; please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-28-water-margins-dorothy-fuzz/#/portal/) if you enjoy this podcast. You’ll learn about way more punk records than we can pack into the podcast! ### power pants stay ready in virginia’s new punk valley URL: https://see-saw.fun/power-pants-stay-ready-in-virginias-new-punk-valley/ Last updated: 2025-04-14T13:21:35.000Z When someone says they’refrom DC, you can assume they’re not. It’s more likely they hail from one of the many ‘burbs surrounding our nation’s capital. Take the Dischord House—it’s not in DC, but rather across the Potomac River in Arlington. Chances are a “DC punk” is stuck in commuter traffic, driving from a Takoma Park house show back to their own homes in Bowie, Silver Spring, Laurel, Riverdale, Greenbelt, Hyattsville, Wheaton, Fairfax, Reston, Fort Belvoir, Lorton, or somewhere scattered among other ‘dales, ‘burgs and ‘villes. All the same, Winchester, Virginia could be the most unlikely incubator for punk in the region. Too rural and historic to qualify as a DC suburb per se, Winchester already earned its musical stripes long ago as the hometown of Patsy Cline. Sure enough, recent years brought about Hopscotch Coffee & Records and even a Black Flag show (sketchy latter-day iteration notwithstanding). And a few residents, current and former, are leading the charge when it comes to garage and pogo-prone sounds. Since 2023, [Power Pants](https://powerpantsrock.bandcamp.com/?ref=see-saw.fun) have been making waves with an onslaught of digital and small-run cassette releases. So far there are seven albums, three EPs, a live set, seven compilation appearances, 14 singles, and a brand new split with Dru the Drifter. In recent years the band’s brand of punk has been in short supply in the region, so their emergence in the neighboring DC and Richmond scenes goes a long way to fill a certain rock'n'roll void. No surprise, Power Pants’ proliferation of tunes in the vein of the Ramones, the Spits, and current acts like Gee Tee has been embraced across the tri-state and the internet at large. Born of the digital world, Power Pants’ melodic bursts retain a spirited, even sentimental energy despite the precision and volume of their fist-pump inducing, two-minutes-or-less songwriting machine. Each release is a portal to an oddball world via synth and power chord-driven earworms matched with thoughtful sci-fi ruminations. Now, Power Pants’ output has become a homegrown catalyst for like-minded music nuts to band together in sweaty, smelly rooms. I caught up with the singular Power Pant leader Dee in DC (proper) in the lobby of the Line—a former church turned hybrid-commercial venture (typical)—a few hours before their show at Smash Records. --- **You’re from Winchester right? What’s it like for Power Pants in Winchester?** There's not much really going on. There used to be a scene back in the day—very heavy in pop punk and metal, but that's kind of dwindled down over the years. There used to be spots that bands were able to play. Those are gone. And now it's just bigger performance venues that you have to “pay to play,” so the only places I can play are outside of Winchester. **Was there a period where it was only a recording project before you started playing out?** Yeah, I think it was after the third record I put out, I'm like, *All right, I wanna start doing shows.* And luckily I found some friends that are pretty good musicians that caught onto it and wanted to play live. **Was that something you put together in Winchester?** I haven't ever played a Power Pants show in Winchester. **None?** I know a spot that I could potentially put one on, but… **So where was your first show?** The first Power Pants show was in DC at Slash Run before they went out of business. **I worked there remotely from Richmond. It was weird booking shows from another city and state. Who else played that one?** The other band I was in, Shawnis and the Shimmers, and I think Sad Roach. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/04/Carl.Dee.Codi.Sarah.PP.DC-copy.jpg) Power Pants’ Carl, Dee, Codi, and Sarah; photo by Tim Abbondelo **I first heard about Power Pants through Thee Deluxe, which features Codi from Sad Roach. And then when I heard your music I was like, *My friend Shawnis in Richmond is going to absolutely love Power Pants*. How are Thee Deluxe and Sad Roach connected to Winchester?** They’re kinda spread out now. The drummer still lives in Winchester but Codi and Carl live in Arlington. **Codi first described you to me as a recording wiz. Do you feel like Power Pants is a part of an extended scene with those bands?** Yeah, cause you know I have members from both those bands that play with me, so it’s like a little circle of people. **It seems less about geography and more about a certain sound that's drawn you all together.** I already knew Codi from skating up the skate park here and there. But then I discovered this band Thee Deluxe and I’m like *Oh, what's this? This sounds cool.* And I text Codi, I’m like, *Hey have you checked this band out?* And he’s like, *Yeah, that’s my band*. And I'm like, *Oh, that’s sick. You guys are awesome!* **Wild!** Yeah, 'cause Codi never brought it up, so I was like, *Oh, that’s cool dude. Shit rocks.* And then later on, I don't know exactly when, but Codi and Sarah started dating and Sarah had this idea for a band called Sad Roach, and then they started doing that. Then before I started playing Power Pants shows, Shawnis hit me up saying, *I want to be the first band you play with.* I’m like, *Alright*. Then months went by and I’m turning down shows 'cause I made a promise. **Did you always know you were gonna put a band together to do Power Pants live?** I didn't think so. I didn't know if I was gonna find anyone. And then once Codi and Carl and Sarah heard my stuff, they're like, *Let's do it!* **And then for good measure you joined Shawnis and the Shimmers?** Yeah because I had seen them when they played with Tee Vee Repairman. That was the first time I introduced myself to Shawnis. And then they lost a bassist and were like, *Hey, would you consider playing bass?* I'm like, *Yeah, I'll give it a try.* And it was really fun, so I played a few shows with them before the band kind of deteriorated. **Is there a new project that's come out of that?** Yeah, Chris and Jerry, the masterminds with all the music, started a band called [Gleex](https://gleex.bandcamp.com/album/gleex?ref=see-saw.fun). Their first show is April 21st and I'll be playing bass with them. **Are they both in your Richmond configuration of Power Pants as well? There are two Power Pants live-band lineups, right? Would you go over your Richmond band?** Yeah they're both in that. The lineup is of course me on guitar and vocals, Jerry usually plays guitar, but he's on drums. Chris is on keyboard and then Chris's friend, Zach, who is also in another band with them called MK Vulture, is playing bass. **And for everyone keeping score at home, what's the Power Pants DC lineup?** Sarah on bass, Codi on keys and Carl on drums. **Then whichever band you play with gets determined by whether the show's in Richmond or DC?** Yeah. I don't wanna make them, you know, hike to Richmond or DC. You know, it works out. **Would you ever do a Power Pants show where both lineups played?** Like, members all playing at the same time? Oh, that’s interesting. But maybe, like, having them all play at the same time together, but different instruments for everyone. **Super Power Pants or Power Pants XL. You’ve certainly got enough material for it.** The thing is if I can remember how to play them. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/04/a2546498916_10.jpg)](https://powerpantsrock.bandcamp.com/album/pp7?ref=see-saw.fun) Power Pants’ PP7 **What’s your writing and recording process look like?** I've been listening to a lot of, like, ’50s to ’70s rock‘n’roll and trying to gain inspiration from that. But I usually just start out with guitar and then lean into the bass and then keys and then flesh out the drum pattern and whatnot. And then vocals will sometimes come like in that moment, but then sometimes I'll just have it sit and then you know, have inspiration kind of hit me out of nowhere. Sometimes it's been happening after a show, late at night on my drive home. I'll put on the track and have that space where there's silence around and it's just me on the road and words will just come to me then. **When that happens are you singing as you’re driving?** Yeah. **Then when you’re at home playing and writing, are you recording as you go?** One of my favorite artists is Jay Reatard, and in his documentary there’s a part where they're talking about at his home, he would have everything mic’d and set up ready to go, like, whenever inspiration hit him, to just get it down. So you don't forget it. I take that mentality and do it myself. **How’s your home studio lookin’?** It ain't much. I do everything on my phone. I just use GarageBand. It's just been like second nature. I can listen back wherever I go and I can record wherever. **Are you programming the drums on your phone too?** Yeah. Some would say it’s lazy but, I don't know, it’s been getting the job done. I’m building a kit and I would love to have a mixer run to that so I can record live drums instead of using the program. **Your output has been relentless. What’s the quickest turnaround you’ve had for a release?** Maybe a month for like 10 songs. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/04/Power.Pants.Smash-copy-2.jpg) Power Pants live at Smash Records in Washington, DC; photo by Tim Abbondelo **By recording digitally on your phone and then releasing the music digitally online, you’ve really streamlined the process. Is this your preferred method, or is it born out of convenience or necessity? Where do you stand on releasing music digitally versus as physical objects?** I really love physical releases. I want to get away from Spotify because of ads and I had a recent issue with Meta AI releasing a song on my account without my permission, and it was just dog shit music up there for a couple of weeks. **What? How the hell did that happen?** It just showed up—on my birthday too, of all days. **What was the name of the song? Or what can you share about it?** I can’t even remember what it was called, but it just had the worst AI made artwork. And then they tried to make it like, not noticeable, but it said Meta AI, on the cover. **Did it try to sound like Power Pants?** It was country rock. I had to dispute it and eventually it got taken down, but it was an eyesore for a couple weeks. **What are your plans for physical releases? Seems like pressing records would be difficult to keep up with your output.** Not necessarily. I’ve kind of slowed down now after the seventh release. I’m taking my time and ingesting more music that I haven’t listened to before, and giving some of my songs a purpose, but still having fun with the ones that don't relate to what I'm going through personally. **Is the song writing itself getting more personal?** It's been like half-personal, half-fun for each release. But I guess, yeah, now I’m trying to make it about my personal experiences and world issues. **No shortage of world issues. What are you paying attention to?** Definitely AI. I fucking hate it. **From personal experience.** From personal experience, too. I think it was the second record I wrote a song just called “Kill the AI.” **Was that before Power Pants got cloned?** Exactly. It’s stealing money from artists that are actually making music. And then same with artwork being stolen from real artists. I don’t know, it's just all this automation and AI stuff is making people lazy and it's gonna destroy us. **I dig your collage album art and look at it for clues to what’s inspiring the music. Out of all the images you've cut up and put together, what are the main components of Power Pants?** I would say checkerboard, robots, space aliens. A lot of sci-fi. **What’s the checkerboard connection?** I don’t know. I always admired it. I used to go to this barber shop when I was a kid in Manassas with my dad, and the floor was always checkered. And anytime I see checkers, I always think of that and just the memories of going in there to get my haircut, getting popcorn. It was a good time. ### on see/saw’s year 1 parties + gratitude URL: https://see-saw.fun/on-see-saws-year-1-parties-and-gratitude/ Last updated: 2025-04-11T18:17:20.000Z Hey, I’m taking a week off from the Punk This Week column, but still wanted to offer some recommendations to subscribers. If you want to stay up to date with great new punk records, listen to the new ones by [STERÖID](https://cryptofthewizard.bandcamp.com/album/chainmail-commandos?ref=see-saw.fun), [Fugitive Bubble](https://sorrystaterecords.bandcamp.com/album/what-will-happen-if-we-stop?ref=see-saw.fun), [the Slow Death](https://open.spotify.com/album/2Ceiv4gyRHSlRqDSZYLpxF?si=UAgfvNV1SomRL9cYV2BaYg&ref=see-saw.fun), [LOINS](https://reptilianrecords.bandcamp.com/album/afterglow?ref=see-saw.fun), [LEATHERMAN](https://leathermanridesfree.bandcamp.com/album/turn-you-on-3?ref=see-saw.fun), [Primal Brain](https://earthgirltapes.bandcamp.com/album/is-it-all-a-game?ref=see-saw.fun), [PET PLAY](https://petplaychi.bandcamp.com/album/hell-to-tell?ref=see-saw.fun), [Plasma](https://sorrystaterecords.bandcamp.com/album/mua-et-voi-omistaa?ref=see-saw.fun), [Teo Wise](https://turbodiscos.bandcamp.com/album/fermo-o-sparo?ref=see-saw.fun), [Los Idiotas](https://losidiotas.bandcamp.com/album/los-idiotas-en-las-sombras-se-mueven-mucho-mejor-lp?ref=see-saw.fun), [GLITTERFAST](https://glitterfast.bandcamp.com/album/glitterfast-s-t-ep?ref=see-saw.fun), [Blood Cannery](https://bloodcannery.bandcamp.com/album/cannery-not-canary?ref=see-saw.fun), [Los Sex Sex Sex](https://slovenly.bandcamp.com/album/los-sex-sex-sex-control-ep?ref=see-saw.fun), [悶煮悶MENGZHUMENG](https://www.youtube.com/watch?v=FA%5Fz7QtR-xg&ref=see-saw.fun), [Comunione](https://sentierofuturoautoproduzioni.bandcamp.com/album/comunione-se-chiudo-gli-occhi-non-esisto?ref=see-saw.fun), [Klyma Krypta](https://brainwasher.bandcamp.com/album/kylm-krypta?ref=see-saw.fun), [Pollas](https://pollas.bandcamp.com/album/kebajingan?ref=see-saw.fun), [Sivilisaatio](https://diykolorecords.bandcamp.com/album/sivilisaatio-ei-luovuteta-koskaan?ref=see-saw.fun), [Unstable Shapes](https://unstableshapes.bandcamp.com/album/delicate-machinery?ref=see-saw.fun), [Mr. Piss](https://mrpiss.bandcamp.com/album/mr-piss?ref=see-saw.fun), [OKRA](https://okraband.bandcamp.com/album/okra-can-demo?ref=see-saw.fun), [Cold Showers](https://crewcuts.bandcamp.com/album/s-t-6?ref=see-saw.fun), [Ball](https://ball666.bandcamp.com/album/satanic-ecstasy?ref=see-saw.fun), [Survival Tactic](https://totalsupply.bandcamp.com/album/tsr-010-demo?ref=see-saw.fun), and the new [*Under the Blade of a Zionist Nightmare* comp](https://plasticwoundrecords.bandcamp.com/album/under-the-blade-of-a-zionist-nightmare-volume-iii?ref=see-saw.fun). Next week: The *Punk This Week* podcast with Nina Corcoran will return, there’ll be a new feature interview with prolific Virginia egg punk operation Power Pants, and of course, a new installment of the column. But yeah, everything’s good over here. I just need a breather. If you’ve been following this newsletter, the podcast, the see/saw Instagram or the Discord, you probably know that I threw three parties in the span of seven days in Eau Claire and Minneapolis. I’m also the parent of a 2.5-year-old, so I’m beat. The shows went extremely well, though. Throwing these parties was a pretty selfish act in a lot of ways. I wanted to see Retail Simps, Judy and the Jerks, Feeling Figures, Artificial Go, Abi Ooze, Heather the Jerk, Answering Machines, Yuasa-Exide, and American Muscle, who I’d never seen before booking them. I wanted to see 208, Citric Dummies, Neo Neos, Bermuda Squares, and Panel again. All three events were an attempt at giving back to a community that gave me so much in the last year. Shout out everybody who came in from far away—there were several people I’d never met who made long drives and flights to get to the parties. The vibes were exceptional at all three shows, and every set was unreal. Here’s what it meant for see/saw to exist in a physical space: the Retail Simps crew sitting around a plate of french fries at Eagles with Brendan Wells from Uranium Club, Judy and the Jerks summoning me to the stage to sing happy birthday to see/saw, Jade from Abi Ooze helping patch up a bloodied Connie Voltaire from Neo Neos, several Minneapolis punks asking me what 208’s deal is after becoming newly obsessed, members of Citric Dummies and Heather the Jerk wringing out a rain-soaked jacket together, and all these punks from all over North America being really sweet to my mom at the merch table. I’ll talk about it a little more about the parties on the pod this week. I am full of gratitude for everyone who helped make it possible, who showed up, who said a nice thing, who had fun, and who encouraged me to do it again next year. I was always going to build something after I got laid off, and the support has been humbling this entire time. Seeing so many people show up for see/saw in actual rooms in the Midwest is unbelievable. see/saw will return at full power next week. Thanks for your support. ### punk this week: the number ones, beer, the ex + 19 more URL: https://see-saw.fun/punk-this-week-the-number-ones-beer-the-ex-19-more/ Last updated: 2025-04-04T19:09:56.000Z Hey it’s Punk This Week, the Friday column from see/saw running down and recommending the week’s best punk records. The Number Ones returned out of nowhere, the Ex are back, Beer dropped another stellar EP, Billiam’s live band got an exceptional document, and the world is introduced to Gerber and the Babies. Definitely try that new Fugue State too, damn. If you want a weekly email in your inbox that offers you a detailed, curated selection of must-listen new punk and rock'n'roll records, throw over [$4/month or $40/year](https://see-saw.fun/punk-this-week-t-u-f-t-necron-9-the-oidz-8-more/#/portal/) for a paid see/saw subscription. (There’s a two-week free trial.) You also get the [see/saw radio](https://see-saw.fun/see-saw-radio/) archive and, soon, bonus podcasts. Free subscribers get writing every week, too, but the whole thing doesn’t cost that much! [Please subscribe](https://see-saw.fun/punk-this-week-t-u-f-t-necron-9-the-oidz-8-more/#/portal/), free or paid, to support this independent music journalism operation. Also, hey: [see/saw just turned 1](https://see-saw.fun/one-year-of-see-saw-fun/)! If you’re in or near Minneapolis, I hope to see you at [Cloudland tonight](https://dice.fm/event/7dvk3b-a-see-saw-pre-party-feeling-figures-bermuda-squares-answering-machines-yuasa-exide-4th-apr-cloudland-theater-minneapolis-tickets?ref=see-saw.fun) (4/4): Feeling Figures, Bermuda Squares, Answering Machines, Yuasa-Exide, and DJ Dr. Wells (Uranium Club) are booked. The [big YEAR 1 party is tomorrow](https://see-sawdotfun.myshopify.com/products/tickets-year-1-a-see-saw-party-on-april-5-in-minneapolis?ref=see-saw.fun) (4/5) at Eagles No. 34: Retail Simps, Judy and the Jerks, Neo Neos, Artificial Go, 208, Abi Ooze, and Panel are playing. --- **The Number Ones:** [***Sorry***](https://thenumberones.bandcamp.com/album/sorry?ref=see-saw.fun) **\[Static Shock\]** “Sorry” is the latest power pop masterpiece from the Number Ones, so I’m not going to wait for the B-side to write about it. The Number Ones from Dublin have been gone for just long enough that a new record was an absolute surprise. A perfect hook, shaggy vocals, and raw production in just two minutes. This is a single that feels like it could’ve been idling in a jukebox unnoticed for decades. How do they do it? [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/04/a1681882024_10.jpg)](https://thenumberones.bandcamp.com/album/sorry?ref=see-saw.fun) --- _This post is for paying subscribers only._ ### on cs’s, the mississippi punk dive of our dreams URL: https://see-saw.fun/on-css-the-mississippi-punk-dive-of-our-dreams/ Last updated: 2025-03-31T18:09:18.000Z I booked Alien Nosejob at CS’s on their US tour in 2023\. It was so exciting—I’d been a fan of Alien Nosejob since its inception, and a fan of Jake Robertson’s other band, Ausmuteants, before that. We lucked out and caught them last-minute after a show in Nashville fell through, and I talked them into driving six hours south to play in Jackson. For a band from Melbourne to play a DIY show in Jackson, Mississippi felt so crazy to me. Jake played a high-energy set with Lumpy and the Dumpers as his backing band. I had butterflies in my stomach from seeing my favorite bands live, a symptom that gets rarer as I get older, and my friends and I danced them all out on the blue and orange linoleum tile in the dining room. Still Animals played the next set and brought the house down. Every once in a while the crowd and I came up to angle our sweating foreheads toward the window A/C unit working overtime in the corner. We made sure the dusty beer cans from the ’80s stayed on their shelves. We ate burgers with the bands (a GCC for me - garlic cream cheese, jalapenos, and bacon), crunched on crinkle cut fries, and pointed out our favorite bumper stickers on the wood-paneled walls. As we packed up the instruments and speakers from the night’s festivities, some member of Still Animals, maybe Lee, said, “This place is crazy. Frozen in time. There aren’t really bars like this anymore.” It’s true. How many bars still exist that haven’t been updated into steel-chaired grey brewhouses? Or worse, turned into corny music venues churning out bar rock for the masses? CS’s remains the same, more or less, as it was in its infancy in the 70s. The sign outside still says CS’s (no one can confirm what CS stands for), the mural on the side of the building still says “BEST BURGERS IN TOWN,” the walls inside are still covered by dark wood paneling, and it retains years of decor brought in by devoted patrons. From floor to ceiling, the walls are covered in bumper stickers - cheeky classics like “GAS, GRASS, OR ASS—NO ONE RIDES FOR FREE,” political mementos like “BUSH/QUAYLE ‘92,” and tons of stickers from the bands who have played through the years. There are empty old beer cans stacked high on shelves, questionable-looking taxidermy, a wall of photos of customers who served in the Iraq war, leftover decorations from years of birthday parties and anniversary dinners. For a while, Pat even kept a special jukebox in the corner filled with local bands’ 45s. My friend JD (from Kicking and Borrowed Man) once said that CS’s “exists in every time and place, so there are off color jokes on the wall, next to heartfelt reminders of birthdays and retirement parties, but there’s never any maliciousness. Everyone is always invited.” When it’s time for a punk show, we simply scoot tables and chairs to one end of the room, pile amps and gear on the church pew at the other end, and make a party happen in the middle. Pat’s niece added a color-changing disco bulb to the one light in the center of the room that we turn on when it’s rock time. Somebody sits by the door and takes cash for the bands. Pat holds court behind the bar and in the kitchen, cooking burgers and mozzarella sticks to inevitably be passed around the crowd. When the show is over, whatever band I booked always has the same fuzzy feeling I do—they always tell me what a fun show this was, what a cool bar CS’s is, we in Jackson are so lucky to have it. Some bands (like Flea Collar and Clementine Was Right) even come back to town asking to play CS’s. ![Kicking at CS’s in 2025](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/03/kicking-last-10.jpg) Kicking at CS’s in 2025 Really, Mr. Pat is the best part of CS’s. He’s 73 years old and has been working in the building since he was a teenager. First when it was a grocery store in his neighborhood, then when he bought it and turned it into CS’s. He’s the kind of guy everyone loves— medical students and politicians eat blue plate lunch at CS’s during the day, party animals and punks drink beer at shows during the night. It’s a neighborhood favorite in Midtown Jackson, absolutely beloved by anyone who lives within walking distance. Mr. Pat acts as caring friend to anyone who walks through the door. My friend Vic (from DBL TAKE) once told me that Pat is a “little bit magic,” and she’s right. He never forgets anyone’s name, he’s always happy to see you, he will tell every band what a great set they played even when their work is clearly not his speed. At almost every CS’s show I’ve booked in the last couple of years, Pat always finds me once the party is in full swing and does an amazed shake of his head. “How do you do it? How do you bring all these people out?” I don’t get to go to a lot of punk shows where the vibes are so warm and fuzzy. The beautiful thing about CS’s is that everyone feels like it’s their personal home. The college kids across the street, the senators downtown, the punks at midnight, everyone has a special memory of partying with Pat. CS’s is the best venue in town because it’s where everyone could be your friend. ![Mr. Pat at CS's](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/03/port-3.jpg) Mr. Pat at CS's ### punk this week: t.u.f.t., necron 9, the oidz + 8 more URL: https://see-saw.fun/punk-this-week-t-u-f-t-necron-9-the-oidz-8-more/ Last updated: 2025-03-28T20:18:09.000Z It’s Friday, which means it’s time for Punk This Week, the new punk recommendations column I throw together after muscling my way through all the big Bandcamp drops. It’s see/saw’s birthday weekend, and to celebrate, let’s listen to the new records from T.U.F.T., Necron 9, the Oidz, and a bunch of others. Some exciting new punk records got announced this week, too, so scroll to the end. And if you *want to* learn about all these records, read what I’ve got to say about them, and have the good stuff delivered to your inbox every week, you’ve gotta subscribe to see-saw.fun. It’s [$4/month or $40/year](https://see-saw.fun/punk-this-week-motorbike-sharp-pins-dumbells-bad-breeding-17-more/#/portal/) with a two-week free trial for all new subscribers. A paid subscription also gets you the full [see/saw radio](https://see-saw.fun/see-saw-radio/) archive and, soon, bonus podcasts. [Please subscribe](https://see-saw.fun/punk-this-week-motorbike-sharp-pins-dumbells-bad-breeding-17-more/#/portal/), free or paid, to support this independent music journalism operation. And if you’re within easy traveling distance of Minneapolis and Eau Claire, I’d love to see you at one of the upcoming [year 1 parties](https://see-saw.fun/get-your-tickets-to-year-1-a-see-saw-party-in-minneapolis/) between March 29 and April 5! Tickets are on sale for [all](https://link.dice.fm/u2f62af716cf?dice%5Fid=u2f62af716cf&ref=see-saw.fun) [three](https://volumeonetickets.org/e/see-saw-presents-punk-rock-pizza-party-w-citric-du?ref=see-saw.fun) [now](https://see-sawdotfun.myshopify.com/products/tickets-year-1-a-see-saw-party-on-april-5-in-minneapolis?ref=see-saw.fun). --- **T.U.F.T.:** [***Swallow Me Whole***](https://pokeysrecords.bandcamp.com/album/swallow-me-whole?ref=see-saw.fun) **\[Pokeys\]** The secret weapon of St. Louis punks T.U.F.T. is El’s growl. The band provide this steadily intense canvas, and what puts everything way over the top is this urgent growl that brings to mind the voice of Christina Pap of Scab and Vanilla Poppers. “I can’t stand the sight of your fucking face anymore,” she screams. There’s this unapologetic nature to T.U.F.T., who won’t make themselves small or apologize or whatever would make their enemies feel easier. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/03/a3318610963_10.jpg)](https://pokeysrecords.bandcamp.com/album/swallow-me-whole?ref=see-saw.fun) _This post is for paying subscribers only._ ### one year of see-saw.fun URL: https://see-saw.fun/one-year-of-see-saw-fun/ Last updated: 2025-03-27T14:31:03.000Z One year ago today, I launched see/saw. It was kind of a ramshackle beginning—I didn’t have the logo yet—but it felt like the punk spirit to start it and figure it out as I went along. The first post was a statement of intention: to build a successor to my Pitchfork punk column Shake Appeal and write about the music that most excites me. I’d pretty recently been laid off, and looking back, I was in rough shape mentally in see/saw’s first months. My response to upheaval was to run nonstop—start a blog, travel for big shot freelance assignments, launch new projects, and hold myself to an impossible standard of productivity. Equal parts rewarding and avoidant, it’s a complicated time to remember. The highs were unbelievable, but any time I slowed down enough to observe what was happening with me, the lows were significant. The first days of the site came with a flood of initial subscriptions and support, both from the punk community and the people in my life. That hasn’t stopped. [Tyler](https://www.tylrnckll.com/?ref=see-saw.fun) made my [first flyer](https://www.dropbox.com/scl/fi/q9dsee0gyaqeh4emf96ez/See-Saw-Final.pdf?rlkey=o2ex7kdb1l9zoddhzz8m5yld5&st=tbd8jwbf&dl=0&ref=see-saw.fun) and established an aesthetic for see/saw that includes the posters above. At some point last year, Badkins encouraged me to start a [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun), which grew into a pretty active and vibrant community space. The McElroys had me [stop by the Clubhouse](https://www.youtube.com/watch?v=bUTIFqueF8w&ref=see-saw.fun). I’ve been interviewed multiple times about it, which is wild for an independent music journalism operation. When I think about see/saw’s first year, the writing I’ve done feels secondary to the group efforts—hanging with Nina weekly to make the *Punk This Week* pod happen, editing and publishing work by friends and heroes, putting together a [year-end newsprint broadsheet](https://see-sawdotfun.myshopify.com/products/see-saw-s-top-52-punk-rocknroll-records-of-2024?ref=see-saw.fun) with John F. Malta, moderating a Cincinnati punk roundtable at Feel It, curating a [40-song benefit compilation](https://see-saw.fun/battle-for-l-a-a-see-saw-benefit-compilation/) for people who lost homes in L.A., [doing radio](https://see-saw.fun/see-saw-radio/) with some exceptional community stations around the U.S., and broadly, connecting with people who love and make this music. I’ve made a lot of new friends. I’ve been doing better in recent months. I’m not smart enough to know why. It’s probably the combination of family, therapy, friends, and time. If you read this stuff on see/saw or have ever hit me up with an affirmation, that has meant so much. A few months ago I wrote about how see/saw is an art practice, not a renewed attempt at a music journalism career. At the year one mark, here’s where I’m at: I spend my days with a two-year-old who loves pig racing and those classical music books with buttons and a speaker that plays, like, *The Magic Flute*. He demands that I draw bears and crabs while sitting my adult-sized ass on a toddler-sized chair. I regularly have to stop him from coloring on the walls. And I have this multifaceted art practice. I’m always busy, but this is what I’m busy doing. At this moment, I’m fulfilled. I’m typically pretty bad about celebrating accomplishments, but I’m trying to be better about it. I built something, I stuck with it for a year, so booking the kinds of bands I’ve been writing about seemed like the right thing to do. If you’re able, I’d love to see you at these three parties: - **March 29:** see/saw presents Punk Rock Pizza Party at Leona’s in Eau Claire. Citric Dummies, Heather the Jerk, American Muscle. [Grab tickets](https://volumeonetickets.org/e/see-saw-presents-punk-rock-pizza-party-w-citric-du?fbclid=PAZXh0bgNhZW0CMTEAAaZV8yWfWDnOS2%5Fp1D6aUY18EQOKAtERkNVS3pUsmmarJYqwLcN-g46SYdY%5Faem%5FjlhaufdN95OdobIUG1K0yQ&ref=see-saw.fun). - **April 4:** before year 1: a see/saw pre-party at Cloudland Theater in Minneapolis. Feeling Figures, Bermuda Squares, Answering Machines, and Yuasa-Exide. [Grab tickets](https://link.dice.fm/u2f62af716cf?dice%5Fid=u2f62af716cf&ref=see-saw.fun). - **April 5:** year 1: a see/saw party at Eagles No. 34 in Minneapolis. Retail Simps, Judy and the Jerks, Neo Neos, Artificial Go, 208, Abi Ooze, and Panel. [Grab tickets](https://see-sawdotfun.myshopify.com/products/tickets-year-1-a-see-saw-party-on-april-5-in-minneapolis?ref=see-saw.fun). Come out, say hey, have fun seeing some of the best bands going. Thanks for reading, subscribing, and telling your friends about see/saw. Remember to say the hyphen out loud when you say the URL. See hyphen saw dot fun. ### punk this week podcast 28: water margin + dorothy fuzz URL: https://see-saw.fun/punk-this-week-podcast-28-water-margins-dorothy-fuzz/ Last updated: 2025-03-25T19:47:08.000Z ![audio-thumbnail](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/media/2025/03/punk-this-week-28_mixdown_thumb.jpeg) punk this week 28: water margin + dorothy fuzz 0:00 /3909.384 1× Punk This Week *is see/saw’s weekly podcast from co-hosts Evan Minsker and Nina Corcoran, breaking down the latest releases in the world of punk rock. We talk about six new punk records we’re loving from the past week.* Did Evan and Nina record during snack time again? Tune in to find out. It’s an episode from an unbelievable week in punk music, so we dig out our six absolute favorites—record by [Water Margin](https://water-margin.bandcamp.com/album/gleaming-cursed?ref=see-saw.fun), [Dorothy Fuzz](https://dorothyfuzz.bandcamp.com/album/mad-art-for-a-mad-age?ref=see-saw.fun), [Placid](https://sttwrecords.bandcamp.com/album/promo-tape-3?ref=see-saw.fun), [NYLON](https://nylon1.bandcamp.com/album/inflatable-world?ref=see-saw.fun), [Alpha Hopper](https://alphahopper.bandcamp.com/album/let-heaven-and-nature-sing-ii?ref=see-saw.fun), and [Phobophlyptix](https://phobophlyptix.bandcamp.com/album/phobophlyptix?ref=see-saw.fun). --- Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.fun). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/seesawdotfun/?ref=see-saw.fun), [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun), and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). Have a question you’d like to hear addressed on the show? Want to send us a HARD PIVOT bumper? Email us: [see-saw@see-saw.fun](mailto:see-saw@see-saw.fun) *Punk This Week* is made possible by see/saw subscribers; please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-27-eraser-nurse-joy/#/portal/) if you enjoy this podcast. You’ll learn about way more punk records than we can pack into the podcast! ### ty champion detroit punk’s “hell yeah” moment URL: https://see-saw.fun/ty-champion-detroit-punks-hell-yeah-moment/ Last updated: 2025-03-24T17:22:20.000Z On an overcast Friday night in Hamtramck, I pull into a parking lot next to Plav Post 10 and get a really good spot. The reason the spot is so good is because I’m not allowed to park here and the reason I know I’m not allowed to park here is the three members of Detroit rock trio TY (pronounced tee why, despite the name being inspired by Beanie Babies) very politely pointing out the “unauthorized vehicles will be towed” sign, before telling me where to move my car to. They’re coincidentally parked right next to me to unload their gear. “Thanks. I’m about to interview you, by the way,” I say, and we all have an awkward chuckle. This awkwardness doesn’t last a minute once we’re inside and it becomes immediately clear to me that these guys are cool as hell. We grab drinks from the bar and head upstairs to a mostly empty, wood-floored room with a stage. Strangely, there are two rope light palm trees that the band will later move. Less strangely, given the setting, there is also a gigantic painting of ’60s pop idol Bobby “The Polish Prince” Vinton, signed by the man himself. Lastly, there is a round card table in the back of the room with two boxes on it—one with fifty or so free pins (that many of the people who show up will be wearing by the time TY takes the stage)—the other with the precious few remaining tapes of their debut [*WE R TY*](https://painterstapes.bandcamp.com/album/we-r-ty?ref=see-saw.fun), which has sold out on Bandcamp for the second time. All of this, combined with the smell of the fish fry happening below, give this place the vibe of a tropical Polish church. They all sit down before the show to discuss a wide variety of subjects, including the similarities between Gene Hackman’s tragic death and the David Boreanas-starring forensic archaeology/crime vehicle *Bones*. In the final moment of the conversation, Jay Kill jokes about saving up to buy a Cyber Truck and Blic wishes a certain unpublishable something would happen to a certain Tesla CEO. While waxing on egg punk, hot rods, and local Nazi biker bars, laughter seems to dominate the conversation. The word “fun” comes up a few times and I try not to roll my eyes, knowing it’s the type of thing you’re supposed to say when you’re being interviewed, but it quickly becomes clear they aren’t bullshitting. Following the interview, photographer Doug Coombe sets up a light stand and the band jokes about how much more official the shoot is than they expected it to be. They successfully extract every ounce of humor from the near-empty room. They stand, hands on hearts, in front of the Bobby Vinton painting in a touching tribute. They silently do rock poses onstage—a sort of alien impression of themselves. Not even the comically small men’s room is safe. The other bands (Cheddar and Mènage Dètroit, both excellent) and concertgoers show up and I notice the guys from TY are running the door for their own show—presumably because they don’t want to burden any of their friends with the thankless task. From the moment I meet them, up to and including their set, these guys are constantly laughing and having a good time. Blic finally begins their set: “Yo, we’re the Doormen.” These guys are certified fun-havers. The members of TY are referred to here not by their actual human names but rather their punk names. Punk names are better. We begin with introductions. --- ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/03/ty-Portraits-PLAV-Post-10-Hamtramck-Feb-28-2025-by-Doug-Coombe-1.jpg) TY’s Jay Kill, Beej, and Blic with a portrait of Bobby Vinton at Plav Post 10 in Hamtramck on February 28, 2025\. Photos by [Doug Coombe](https://www.dougcoombe.com/?ref=see-saw.fun). Blic: I’m Blic, I play bass and sing… or yell or scream. Jay Kill: I’m Jay Kill, I play guitar. Beej: Beej. I play drums. And I record stuff. Jay Kill: And have fun. Beej: That too. **Blic, you don’t have fun?** Blic: Not me. Jay Kill: No, just us, we have fun. \[*everyone laughs*\] **Jay Kill and Beej, you two are in Fen Fen, and that’s ongoing, and Blic you’re not in Fen Fen. What made you guys decide to start doing this TY project instead of the Fen Fen thing?** Blic: TY’s been a band since 2019, probably. It started out as an indie rock, classic rock, punk thing that was just an amalgamation of music between me and two other friends. And then the pandemic happened, I don’t have those friends anymore, and I liked the name of the band. Just kept the name, basically, and started writing new music. Jay Kill came to me and was like “you ever heard of egg punk” and I was like “no,” so we started listening to it and I thought *this is sick, makes me want to make music*. Not that we’re particularly eggy, but “Murder Bank” is. **There’s a couple tracks for sure.** Blic: There’s a couple tracks, yeah. “Choked Up.” Jay Kill and I were friends for a while. He played in TY when we tried to revive it as what it was before. [WE R TY by ty](https://ty4listening.bandcamp.com/album/we-r-ty?ref=see-saw.fun) **Did you do shows then with TY?** Blic: Yeah. We played Loving Touch for this Old Soul Vintage thing. It was pretty cool. It was definitely a more CCR rock that I was going for, I guess. Then it just evolved to this. We wrote pretty much half of the album in the first two months of 2024, then more music just kept pouring out of us. We had another drummer for a second, but then we had Beej join the band. Beej: I was gonna play synth originally, I practiced once on synth. Then I was showing them some demos of some stuff that I was recording at home, which I played all the instruments on and they were like… Jay Kill: Damn, that’s the drums that we want! **The Detroit scene right now is so fuckin’ good. There’s so many good bands, but it’s both the quality of the music and the community. You go to a show and there’s like three other bands there—*good* bands. Between Fen Fen and TY, where do you guys feel like you fit in the Detroit punk scene right now?** Beej: I think we just fit in, yeah, with all the bands. Jay Kill: There’s a lot of bands that just sound really different. There’s not a scene of like “here’s the garage punk bands that all sound like the Spits,” everybody has their own thing that they’re going for. So we just fit in with everybody. I feel like everybody’s friends. Beej: Yeah, the musicians keep the scene alive. Pretty much, if the musicians don’t come out to your shows, your show’s gonna be bad. \[*everyone laughs*\] It’s literally like 50% or more musicians at the shows. And that’s how it’s been since I moved here. Jay Kill: It’d be kinda cool if it was more people that just wanted to go to shows, but it just seems like the people that want to go to shows are playing the shows. \[*laughs*\] **A couple weeks ago, me and my dad were seeing COFFER and it was like OK, there’s** [**208**](https://see-saw.fun/208-on-turning-trauma-into-shit-fi-bangers/) **and there’s** [**Day Residue**](https://see-saw.fun/day-residue-are-frustrated-meticulous-punks-from-detroit/)**. It was like the beginning of a Scorsese movie, people kept walking in.** Jay Kill: Will from COFFER is my roomate. **Were any of you in the Stools, too?** Jay Kill: No, Will still is. **And Chuck from** [**Painters Tapes**](https://painterstapes.bandcamp.com/?ref=see-saw.fun)**.** Beej: Yeah, Chuck is. He’s about to walk in that door with a PA. Jay Kill: If it weren’t for Chuck this show wouldn’t be happening; we wouldn't have a PA. \[*laughs*\] **You mentioned garage rock, too. Blic, you said you originally sounded more like CCR then sort of did the egg punk switch. Was there a conscious decision to continue the Detroit garage rock thing, or did it just happen organically?** Blic: I just don’t think I’m a very good technical musician, so when I wanna play guitar it just comes out garage rock ‘cause I just wanna play fast and chuggy. I don’t know. I literally play the E shape and the A shape all up and down the neck and that’s how I write every song. Nothing changes. I don’t play a minor chord. We have a seventh chord in one. Major 7. **I’ll be on the lookout for that.** Jay Kill: We’ve been exposed. \[*everyone laughs*\] Beej: The song’s not out yet. \[*Ed. note:* [*It’s out*](https://see-sawdotfun.bandcamp.com/album/battle-for-l-a-a-see-saw-benefit?ref=see-saw.fun)*.*\] **When you guys put out “Devil Tattoo,” was it like, “This project is the real deal thing?”** Jay Kill: I don’t even know if it *is* the real deal thing. \[*laughs*\] We’re just playin’ for fun, really. Blic: Yeah. I mean, we’re hoping it pops off. We were excited that Tremendo Garaje wanted to put the video out. Jay Kill: It was cool because he was really stoked about it too. He put it out and he was messaging us still. **It seems like every single person who watches the video or listens to the song is like, “Holy shit, these guys fuckin’ rock.”** Beej: It’s a very “hell yeah” song. Blic: It has been cool that we’ve *only* received positivity. I’m ready for the negative. Beej: My favorite was, what was that YouTube comment? “ZZ Top, minus the beards, but if they wrote better music?” \[*everyone laughs*\] **On “Ride My Bike” there’s a little evil laugh and it made me think that song was about the devil on the bike in the devil tattoo.** Blic: \[*everyone laughs*\] “Ride My Bike” was written way before. **He’s talking about burning the world and he does an evil laugh, and I’m like “he’s on his bike, that’s the devil guy!”** Blic: \[*laughs*\] Yeah, Satan lives inside of me for sure. I hope. Beej: I really wanted to do a couple tape tricks on the record, so we did a half speed on one of the laughs so it was really low and then I sped the other one up. So there’s like a vocal harmony that’s really high on that song, that’s just Blic but sped up. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/03/ty-Portraits-PLAV-Post-10-Hamtramck-Feb-28-2025-by-Doug-Coombe-15.jpg) TY’s Beej, Jay Kill, and Blic with a portrait in the men’s room at Plav Post 10 in Hamtramck on February 28, 2025\. Photos by [Doug Coombe](https://www.dougcoombe.com/?ref=see-saw.fun). **Did you get the devil tattoo for the song or did you have it already?** Blic: No, I got that tattoo from my friend Jane and I went home and I was so stoked on it and I just wrote a song about it. I think I already had the riff and I was like, “Wait that kinda goes together, that’s cool.” **You said the buzz around this was all positive, so is that what you guys are used to in other projects or is this pretty unique?** Jay Kill: I feel like people in the scene are mostly positive. People aren’t gonna say “you suck,” you just might not get any feedback. Fen Fen’s gotten some negative comments, but nothing serious. Nobody’s writing bad reviews or anything like that. Beej: There was one on the video for “Kill Your Parents” that was like “I could leave this.” Jay Kill: “Not for me.” Beej: “Not for me,” yeah! **RT: Whose bike is that in the “Devil Tattoo” video?** Beej: That’s my bike. **RT: So is the motorcycle stuff from you or is everyone just into motorcycles?** Blic: “Ride My Bike” is about riding my bicycle. I love riding bikes. I ride my bicycle so much during the summer, spring, and fall. I’m like a fiend. So that’s where the lyrics came from. Beej: Is “Devil Tattoo” the one with the motorcycle lyrics? Blic: That’s just ‘cause he’s riding a motorcycle. Beej: I think “Hot Rod Baby” has a motorcycle/car mix. Jay Kill: There’s like some car noises, but there’s no motorcycle lyrics. Beej is the biker, though. **Through and through?** Beej: I mean, I’m not like a real \[*biker guy voice*\] brother, but I work on my bike in the summer, it’s fun. **There’s a nazi biker bar down the street from my house.** Jay Kill: The fourth reich?!? **Yeah!** Blic: It’s unfortunate, because there’s such a good used video game store right across the street. **This might not make it in, I’m scared of those guys.** Jay Kill: I’m not scared of ‘em… I don’t think the regular average person even knows what the fourth reich is. **The SS on the side of the building!** Jay Kill: The SS people just associate with biker culture, so I don’t even think people know where *that* comes from. That’s nazi shit right there… We gotta make some anti-FRMC stickers and start putting ‘em up. Blic: I wish that grenades were easier to get. \[*everyone laughs*\] ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/03/ty-Portraits-PLAV-Post-10-Hamtramck-Feb-28-2025-by-Doug-Coombe-16.jpg) TY’s Jay Kill, Beej, and Blic at Plav Post 10 in Hamtramck on February 28, 2025\. Photos by [Doug Coombe](https://www.dougcoombe.com/?ref=see-saw.fun). ### punk this week: motorbike, sharp pins, dumbells, bad breeding + 17 more URL: https://see-saw.fun/punk-this-week-motorbike-sharp-pins-dumbells-bad-breeding-17-more/ Last updated: 2025-03-21T23:53:12.000Z Hey it’s [Punk This Week](https://see-saw.fun/tag/punk-this-week/), see/saw’s weekly recommendations column, and sweet Jesus is this a massive week for new punk records. Do I say that a lot? Sure, but I wrote about 21 records this week and briefly mentioned several others worth investigating. There’s two standout albums out now on Feel It Records, the long-awaited return of Total Punk’s Mind Meld imprint, two very sick projects out of Los Angeles, a star turn from Sharp Pins, some massive hardcore records, and so much more. You ready to read about all this stuff? You want new punk recommendations delivered to your inbox every week? You can have it for [$4/month or $40/year](https://see-saw.fun/#/portal/); try it two weeks for free, see what you think. A paid subscription also gets you the full [see/saw radio](https://see-saw.fun/see-saw-radio/) archive and, soon, bonus podcasts. [Please subscribe](https://see-saw.fun/#/portal/), free or paid, to support this independent music journalism operation. And if you’re within easy traveling distance of Minneapolis and Eau Claire, I’d love to see you at one of the upcoming [year 1 parties](https://see-saw.fun/get-your-tickets-to-year-1-a-see-saw-party-in-minneapolis/) between March 29 and April 5! Tickets are on sale for [all](https://link.dice.fm/u2f62af716cf?dice%5Fid=u2f62af716cf&ref=see-saw.fun) [three](https://volumeonetickets.org/e/see-saw-presents-punk-rock-pizza-party-w-citric-du?ref=see-saw.fun) [now](https://see-sawdotfun.myshopify.com/products/tickets-year-1-a-see-saw-party-on-april-5-in-minneapolis?ref=see-saw.fun). --- **Motorbike:** [***Kick It Over***](https://motorbikernr.bandcamp.com/album/kick-it-over?ref=see-saw.fun) **\[Feel It\]** The Checkered Flag Studio, a Cincinnati basement but soon a proper studio space, is a dim little cave made to sound perfect thanks to the strategic placement of old couch cushions. *Kick It Over* is a fantastic rock’n’roll record written and tracked in that basement, which in some capacity sounds to me like Cincinnati. “Afraid of Guns” and “Western Front” find this tightrope balance between stomping muscle and swaggering glam. It’s tough but lowkey it’s a little flashy. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/03/a3398931896_10.jpg)](https://motorbikernr.bandcamp.com/album/kick-it-over?ref=see-saw.fun) --- _This post is for paying subscribers only._ ### punk this week podcast 27: eraser + nurse joy URL: https://see-saw.fun/punk-this-week-podcast-27-eraser-nurse-joy/ Last updated: 2025-03-19T13:45:46.000Z ![audio-thumbnail](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/media/2025/03/punk-this-week-27_mixdown_thumb.jpeg) punk this week 27: eraser + nurse joy 0:00 /3062.256 1× Punk This Week *is see/saw’s weekly podcast from co-hosts Evan Minsker and Nina Corcoran, breaking down the latest releases in the world of punk rock. We talk about six new punk records we’re loving from the past week.* On this episode of our podcast that’s about new punk records but secretly also about snack foods, Nina talks about witnessing the return of Krill before we break down new releases by [Eraser](https://siltbreeze.bandcamp.com/album/eraser-hideout-lp?ref=see-saw.fun), [Nurse Joy](https://xxnursejoyxx.bandcamp.com/album/can-i-say-something?ref=see-saw.fun), [the Hell](https://drunkensailorrecords.bandcamp.com/album/st-7-8?ref=see-saw.fun), [Olivia’s World](https://oliviasworld.bandcamp.com/album/greedy-gorgeous-2?ref=see-saw.fun), [Nisemono](https://toxicstaterecords.bandcamp.com/album/nisemono-lp?ref=see-saw.fun), and [Kae Pe](https://diamachi.bandcamp.com/album/babylon?ref=see-saw.fun). Also discussed: Krill’s [*Lucky Leaves*](https://wheretheresakrilltheresaway.bandcamp.com/album/lucky-leaves?ref=see-saw.fun), Ovlov, [Kae Pe’s website](https://diamachi.com/?ref=see-saw.fun), NFT galleries, Warthog, L.O.T.I.O.N., Nomad, That Dog, Peeps, PYPY, and the [see/saw year 1 party in Minneapolis on April 5](https://see-saw.fun/get-your-tickets-to-year-1-a-see-saw-party-in-minneapolis/). --- Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.fun). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/seesawdotfun/?ref=see-saw.fun), [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun), and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). Have a question you’d like to hear addressed on the show? Want to send us a HARD PIVOT bumper? Email us: [see-saw@see-saw.fun](mailto:see-saw@see-saw.fun) *Punk This Week* is made possible by see/saw subscribers; please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-26-pyrex-yuasa-exide/#/portal/) if you enjoy this podcast. You’ll learn about way more punk records than we can pack into the podcast! ### guiding light are ready to take over the world beyond austin URL: https://see-saw.fun/guiding-light-are-ready-for-the-world-beyond-austin/ Last updated: 2025-03-17T16:28:35.000Z [Guiding Light](https://guidinglightatx.bandcamp.com/album/s-t-ep?ref=see-saw.fun) were shocked to find that anyone outside of Austin had heard of them, let alone a Brooklynite on vacation who wanted to sit down for an interview. But the band’s self-titled 2024 EP was impossible for the discerning punk to ignore. Their tight, wiry sound is strengthened by an intuitive sense of rhythm and the unexpected punch of semi-German lyricism. With the new vinyl release of *Guiding Light* on Tall Texan Records and the band’s imminent rise to glory, it was time to share their story. I met the band at Tweedy’s, a local dive with a monochrome portrait of David Lynch on the wall and a specials menu themed to, well, the Specials. “I work here so I’ve been here all day,” says bassist Rachel Kirk, “but a lot of people like to hang out here, so I mean, it’s a nice spot to gather. We’ve played here before as Guiding Light.” “I was here the other day and ran into like a million different people. It’s that kind of place where you just see everyone,” says Elise Cook, the vocalist behind the band’s Teutonic tongue. “I grew up in the UK, moved to the Bay Area with my parents when I was a kid because of my dad's work, and then we ended up in Austin.” Guitarist John Morales and drummer Daniel Powell round out the group, both members of another great Austin act, Touch Girl Apple Blossom. In a booth away from it all earlier this year, we laughed over cheap beer, mezcal palomas, and the eternally binding force of great music. --- **Before you guys were Guiding Light, how were you involved in music? What got each of you into music?** John Morales: I saw Sonic Youth on *Letterman*. They played the song “Incinerate,” and that kinda just changed my life. That's pretty much it, I just wanted to play guitar. Elise Cook: What got me into music was my dad. He was in bands and put me onto a bunch of stuff. I never really thought, oh, I would be in a band, ’cause I didn’t really play any instruments, and then... I was in a band. Daniel Powell: I was a metalcore kid growing up, so that's what made me want to play drums. Rachel Kirk: Both my parents were classical musicians. But then, when I was in high school, I got really into rock and started playing bass. And I always wanted to be in a band, but I didn't know anyone when I lived in Houston growing up. I moved here to Austin for college, and I really wanted to get in the music industry, and here I am now, booking shows, working at three different spots. And I've been in a few bands here in Austin, and that's how I met John, with the band I had most recent to Guiding Light. After that band broke up, John asked me if I wanted to do something, and I was like, hell yeah, and that's kind of how Guiding Light started. Daniel Powell: Me and John play in another band and I felt like we needed an outlet to play a different kind of music together because that band is a lot more like, rock’n’roll-ish. We just wanted to play something faster. Rachel Kirk: We were trying to figure out who to do vocals, and I was thinking about it for a long time and Elise used to be in a band here in town that I thought was really cool, and I knew that they weren't playing anymore. And I kind of knew Elise because we met in L.A. for the first time. Elise Cook: We were both in L.A. for Cruel World, and we met at Billy Idol. Rachel Kirk: So I just texted them, hey, we’re starting this project with John and Daniel. And I was like, I don't know if they'll want to do it. But I got a response pretty quick, and we practiced the next day. Elise Cook: When Rachel reached out to me about being in Guiding Light, she kind of described what the sound was this kind of like jangly post-punk. I was like, OK, I’m in. It was immediate. **What was your original thesis idea for the band? What sounds were you playing with?** John Morales: I was super influenced by Johnny Marr, but more dissonant or less poppy. More kinda Gang of Four-y. And Television, I really liked a lot of the guitar playing from Television. Elise Cook: That was the joke at first, that we would be a Television cover band. That’s how we got the name. I had that first practice, and you guys were like, “By the way, we have a show in a month.” Daniel Powell: Sounds like movie shit! Elise Cook: And we came up with the name a week before. Rachel Kirk: Because we had to get a name on the flyer. The first show we played was a showcase of all bands that were playing their first show. So that's why we wanted to do that. We had songs mostly ready, but we just needed vocals. Elise Cook: And weren’t you three fucking lucky that I had a bunch of shit already written. Rachel Kirk: I knew you were ready to go. Elise Cook: Cause like, the month leading up to you asking, I was finally in the space where I was like, I do want to be in a band again. I really want to do this, but I don't know who I want to be. I'd been talking to people, and they were like, we should chat, we should hang, we should play together sometime, we should write. And I just never really felt the pull with anyone I talked to. But then you hit me up, and I was like, oh yeah, we'll do this. They had songs already. And then I was just like, I think these lyrics would go over this, and then I did it. **That’s kind of magical.** Daniel Powell: You know we're a hardcore band, apparently? Elise Cook: Apparently. A weird hardcore band. **Has someone told you that?** John Morales: It was in writing! Rachel Kirk: My boyfriend was like, hey, look at this review, and he was really confused. Cause he’s a metal guy, he was like, that’s not hardcore. Elise Cook: Cool bands won’t play with us cause we’re not hardcore, what? Daniel Powell: And those are our shows. Those are the shows we play! **What do you call yourselves?** Elise Cook: I’d say it’s post-punk. Rachel Kirk: But we played one show, and someone came up to us, and they were like, I thought you were a post-punk band. Elise Cook: And then just like walked away. And we were like, huh? We were so confused. But it's funny because I feel like every time we play, someone has something different to say. I'm gathering a list of all the things that people have said. Rachel Kirk: Someone said that we were kind of like a ska band. Elise Cook: Oh, that hurts. John Morales: I like that. We should put it on our Bandcamp. Rachel Kirk: A lot of times I’ve been in bands, we’re like, oh, let’s try to sound like this. But I feel like with this band, we just sound the way that we sound. Everyone has their own style, and we bring it together. John Morales: Yeah, it’s a weird crossover. We all like weird shit on our own, but like, it’s always some random weird band that we all like. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/03/image.png) Guiding Light, photos by Sydney Salk **So you get together, you’re playing shows, at what point do you decide you need to record this stuff?** Rachel Kirk: It was very quick. We played the first show in December 2023 and then we recorded in February 2024. John Morales: I feel like we were just waiting to get the last song done. We had a fifth song, I remember we didn’t even want to do it at first. Then we just decided to record it. That was kind of a last-minute song. Daniel Powell: Yeah, before that we were playing a fuckin’ 10-minute set. Elise Cook: The first show, yeah, probably less than 10 minutes. I miss it! Daniel Powell: Now we're at 20-something minutes, and I’m fuckin’ dying every day. But it’s great, it’s great. They’re all good songs. **How did you get involved with Stucco and Down South Tapes for the initial cassette release? They’re elusive. I cannot find a lot of info about them.** Rachel Kirk: Well, it’s a friend of ours that’s involved with this umbrella of people. He saw us play at Hotel Vegas, he works there, and was like, I'll put out your tape. And then it was just serendipitous that he did it for us. Elise Cook: He’s very elusive. I've never really spoken to him in person. We'll be like \[*waves*\], but that’s it. **Now you have vinyl out with Tall Texan—also an elusive label.** Rachel Kirk: He is maybe more elusive. I’m the only one that’s talked to him. Elise Cook: Someone asked me about it last night and was like, so what's up with Tall Texan and like, who is it? I don't even know. That's not a question for me. Rachel Kirk: When we released the cassette and put our stuff on Bandcamp, it was like, two days after, you know how people can contact you through your Bandcamp page and it goes to your email, but you don't like see all of their information? It was just like, Hey, any plans to put this on vinyl? Like that was it. And then we just organized that with the Tall Texan guy and now it exists. John Morales: The turnaround was pretty quick. I couldn't believe it. **This weekend you start a mini-Texas tour to support the vinyl version of the album. How do you guys feel about touring and live shows? Is it invigorating? Is it scary?** Rachel Kirk: I love it. John Morales: Touring is my favorite. I love, like, sleeping on people’s floors, waking up kind of early, getting a coffee, driving to the next place. Yeah, I like all of it. Elise Cook: I've only been in one other band and I've never played a show outside of Austin, so I'm really excited. I love playing shows except for the six hours leading up to the set where I feel like I'm gonna shit myself, regardless of whatever is going on. **You're not the first person to tell me that.** Elise Cook: I literally feel like I'm gonna actually shit my pants. Hasn’t happened yet. But I don't know, I feel psycho until we play. And then I black out while we're on stage. Don’t remember anything. I get off stage and I feel insane. And then everyone goes, great job, great job. I'm like... Daniel Powell: What did I do? Elise Cook: Yeah, exactly. I literally will ask, how was that? Daniel Powell: Touring’s my favorite thing ever, I can't wait. I think this band needs to get out of Austin. ’Cause I feel like other places in this world would really appreciate this band. Elise Cook: I want to play the East Coast so bad. Yeah, I think we will. John Morales: Anywhere that wants us, we’re going! ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/03/New-Project--3-.png) Guiding Light, photos by Sydney Salk **If you could tour anywhere, where would you go?** Daniel Powell: Japan! That's gonna be the cherry for me. Rachel Kirk: We really want to go to the UK. We were just talking about it. Elise Cook: We'll stay with my grandparents. Rachel Kirk: We daydream about the kind of tours we want to do one day. Elise Cook: We’re planning a tour for this summer. So, Midwest for the summer. **What other big plans do you have for the band?** Rachel Kirk: New release. We're trying to write some new stuff. John Morales: An LP is probably the next step. **Do you even have time to write new music? Sounds like you’re all so busy!** John Morales: Yeah, I have like voice memos for stuff. Elise Cook: John will show up to practice and be like, guys, I’m having a creative block, I'm having a creative block, I like, I can't think of anything. And then he gets his guitar out, and then he's like, wait! Wait! I have a new song! Let me record it! It happens every time, always. Daniel Powell: It’ll be like four sections of a song in ten seconds, and he just looks at me, and he's like, can you do this? And I'm just like, what the fuck did you just do? Play it like ten more times. Elise Cook: And that’s usually how it goes, that’s how we write. **I know you like to do covers so could I pitch one? Would you ever do “99 Luftbaloons” by Nena?** Elise Cook: You know I would. You know I already got that shit on lock. That is my go-to karaoke song. Fuck the English version. The English version is fucking dumb, it’s not the same song at all. It makes me sad that they felt they had to make an English version because there was a lot of that Neue Deutsche Welle where it was like if they just sang in English, maybe it would go places. And it just bums me the fuck out cause a lot of the stuff coming out of Berlin around that time where the singing in English and it just doesn't do the same thing. Have you seen *B Movie: Lust and Sound in West Berlin*? You should watch it. It's like my favorite movie ever. It's kind of a documentary, but it's kind of a mockumentary. Basically, this English guy moved to West Berlin in the late '70s and early '80s, and he filmed a bunch of stuff while he was there. He hung out around a bunch of musicians, so like Malaria!, Ideal, all those kinds of bands. And there's a part where the vocalist of Ideal talks about how she feels like she can hide when she sings in English, which is funny because I have the opposite thing because I'm not in a German audience. So I feel like I can hide when I sing in German because no one knows what the fuck I'm saying. Anyways, it's awesome. We should cover it. Maybe we will, just for you. John Morales: Yeah, we'll do it at our eventual New York show one day. **With SXSW coming up, how do you feel about that whole event?** Rachel Kirk: I like it because it gives me work and I make money, but the lead-up to it is the most stressful time of my life. Although it is fun when it's going on, there's cool bands. I don't think we're gonna play this year. If we did, we would only do unofficial. We only did unofficial last year, we played with our friends. We played here at Tweedy's, which was really fun. Elise Cook: Daniel was the real trooper of last year's SXSW. He played... Daniel Powell: It was ten shows in seven days. Elise Cook: And the day we played here, Daniel played three times. That was actually our best set. Daniel Powell: It was horrible. I was trashed the whole time. And the Guiding Light set is the fucking hardest set for me. I don't know how it worked. John Morales: I actually loved that set. Elise Cook: That was one of the sets we played where I was like, wow, I feel good about this. John Morales: I have a last thing to say. I just wanted to say that I really appreciate my bandmates. Because, like, the previous band that I was in, I thought of the songs that I was writing that didn't materialize, and it was going to go to Guiding Light. I couldn't really think of any drummers who could play it, not that it's super technical or anything, but you need stamina and endurance to do these kind of drum parts. I thought of Daniel, and then Rachel. The stuff that Rachel puts into Guiding Light is shit that I would never would have thought. And then, Elise is an amazing writer, I love the lyrics. Daniel Powell: John's the best. Rachel Kirk: This band exists because of John. Elise Cook: Shout out John, legend. Rachel Kirk: Texas legend right there! It really came together. Elise Cook: I’m excited. I also feel very, very grateful for Guiding Light and for being asked to join and do vocals because I really needed it at that point in time and it has given me such a great outlet. For lack of a better word, over the last year things have been a little bit cuckoo bananas in my life, so I feel honored to play with great people. Thank all of you. ### punk this week: the hell, nisemono, eraser + 13 more URL: https://see-saw.fun/punk-this-week-the-hell-nisemono-eraser-13-more/ Last updated: 2025-03-14T19:28:26.000Z It’s time for the weekly punk column from see/saw, [**Punk This Week**](https://see-saw.fun/tag/punk-this-week/). As always, I’m recommending the best new punk records from the week that was, this time led by a new one from Cleveland’s the Hell. There’s also power duo Nisemono with their new record on Toxic State, Philadelphia’s Eraser with a new one on Siltbreeze, plus the States, Dangüs Tarküs, Olivia’s World, Commitment, and so many others. Do you want to read about all of these records, this week and every week? Punk This Week is available to paid subscribers (and [those who barter](https://see-saw.fun/bartering/) their way across the paywall). Free subscribers have access to weekly offerings including interviews, podcasts, playlists, and radio shows. **Paid subscribers now get a two-week free trial!** [Please consider a subscription](https://see-saw.fun/punk-this-week-pyrex-yuasa-exide-eddy-current-suppression-ring-10-more/#/portal/), free or paid, to help grow this reader-supported endeavor. *(Remember to check out the* [*BATTLE FOR L.A. benefit compilation*](https://see-saw.fun/battle-for-l-a-a-see-saw-benefit-compilation/) *and I hope to see you at one of the stacked* [*see/saw year 1 parties*](https://see-saw.fun/get-your-tickets-to-year-1-a-see-saw-party-in-minneapolis/) *coming up in Minneapolis and Eau Claire.)* --- **The Hell:** [***The Hell* 7”**](https://sorrystaterecords.bandcamp.com/album/the-hell?ref=see-saw.fun) **\[Sorry State/Drunken Sailor\]** Cleveland’s the Hell are back with an unreal new 7” of heavy, cascading, wild punk that teeters right on the edge of hardcore. It’s wild how many ideas they stuff into a song that ends in 52 seconds or how they manage to find even more speed and intensity when you’re already pretty sure they’ve topped off. “Dirt Nap” is the patient piece that pays off major, simmering for over a minute before launching into a drawn out punk rock dream sequence. Dig into a 7” with an album’s worth of vision and intensity. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/03/a2695657575_10.jpg)](https://sorrystaterecords.bandcamp.com/album/the-hell?ref=see-saw.fun) --- _This post is for paying subscribers only._ ### punk this week podcast 26: pyrex + yuasa-exide URL: https://see-saw.fun/punk-this-week-podcast-26-pyrex-yuasa-exide/ Last updated: 2025-03-11T14:14:23.000Z ![audio-thumbnail](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/media/2025/03/punk-this-week-26_mixdown_thumb.jpeg) punk this week 26: pyrex + yuasa-exide 0:00 /3459.288 1× Punk This Week *is see/saw’s weekly podcast from co-hosts Evan Minsker and Nina Corcoran, breaking down the latest releases in the world of punk rock. We talk about six new punk records we’re loving from the past week.* An adjustment in the recording schedule means an episode light on snack talk, so instead, Evan and Nina focus on the feast of new punk records: the latest by New York City total punks [Pyrex](https://pyrexnyc.bandcamp.com/album/body?ref=see-saw.fun), Minneapolis’ prolific Kentuckian [Yuasa-Exide](https://apesanctuary.bandcamp.com/album/hyper-at-the-gates-of-dawn?ref=see-saw.fun), Winnipeg’s [Polyglots](https://polyglots.bandcamp.com/album/artistes-anciens-2?ref=see-saw.fun), UK hardcore antihero [Total Con](https://unlawfulassembly.bandcamp.com/album/total-con-who-needs-the-peace-corps?ref=see-saw.fun), New Orleans ramshackle garage punks [T.A.C.K.](https://tacktack.bandcamp.com/album/tackle?ref=see-saw.fun), and the Madison duo [Boo/Hiss](https://boo-hiss.bandcamp.com/album/intro-six-songs?ref=see-saw.fun). Also discussed: A conversation in Reno with [Rotary Club](https://ironlungrecords.bandcamp.com/album/sphere-of-service-lungs-283?ref=see-saw.fun), Michael Mann’s *Thief*, [*BATTLE FOR L.A.: a see/saw benefit*](https://see-sawdotfun.bandcamp.com/album/battle-for-l-a-a-see-saw-benefit?ref=see-saw.fun), Unlawful Assembly, Yo La Tengo’s *Electr-O-Pura*, Yuasa-Exide’s [*Information and Culture*](https://apesanctuary.bandcamp.com/album/information-and-culture?ref=see-saw.fun) \+ [*Naturally Reoccurring*](https://apesanctuary.bandcamp.com/album/naturally-reoccurring?ref=see-saw.fun), this week’s [Punk This Week column](https://see-saw.fun/punk-this-week-pyrex-yuasa-exide-eddy-current-suppression-ring-10-more/). --- Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.fun). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/seesawdotfun/?ref=see-saw.fun), [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun), and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). Have a question you’d like to hear addressed on the show? Want to send us a bumper? Email us: [see-saw@see-saw.fun](mailto:see-saw@see-saw.fun) *Punk This Week* is made possible by see/saw subscribers; please [consider a subscription](https://see-saw.fun/punk-th/#/portal/) if you enjoy this podcast. You’ll learn about way more punk records than we can pack into the podcast! ### iron lung see no end in sight URL: https://see-saw.fun/iron-lung-see-no-end-in-sight/ Last updated: 2025-03-10T20:25:45.000Z Hopping on a call with Jon Kortland and Jensen Ward, the duo that have made Iron Lung a powerviolence institution over the past 26 years, I’d built up this story about what happened after 2013’s [*White Glove Test*](https://ironlungrecords.bandcamp.com/album/white-glove-test-lungs-038?ref=see-saw.fun)that slowed down the band’s output. That album was sprawling and ambitious, a record meant to be played on your turntable with an accompanying noise piece played on a second turntable, but that couldn’t have been the root cause. Though when you look at the numbers, maybe there’s something to it. Between 2001 and 2013 the band tallied 25 releases, compilations notwithstanding. Between 2014 and 2024? Four. Something *had* to have happened, right? Call it music writer brain, but it’s easy to romanticize some narrative that feels larger than life when the plain fact is life happened. It really was that simple. It’s fitting that on [*Adapting // Crawling*](https://ironlungrecords.bandcamp.com/album/adapting-crawling-lungs-300?ref=see-saw.fun), out April 18 on their very own [Iron Lung Records](https://ironlungrecords.bigcartel.com/?ref=see-saw.fun), that’s also what their lyrics are about. A far cry from the days of Iron Lung singing about arcane medical devices and cruel healing practices, the slow progression towards centering the humans in their songs is on full display here. In many ways, *Adapting // Crawling* is the soundtrack to the fight to stay alive at a time when everyone, and everything, makes that harder than it ought to be. It’s a record about mental health and individual freedoms failing the common good, while retaining the ambitious elements Iron Lung developed leading up to *White Glove Test*. The song-infecting-a-song suite of “Purgatory Dust,” “Virus,” and “Purgatory Dust (Finale)” recalls the band’s experimental side while still anchoring in the sound that can only be made by Kortland and Ward. There’s a reason that the de facto tagline for their label, the plainly titled Iron Lung Records, has always been: “We know what We like and what We don’t like.” Those capitalized “We”s are important. --- **I know you two have lived in different states since before *White Glove Test* came out in 2013\. But, as the years have gone on, has the approach to being a long-distance band changed at all? Have you developed new ways of working or better ways of working?** Jensen Ward: You want to go first Jon or should I? Jon Kortland: You go ahead. Jensen: We never have to take turns ever; it’s weird. I know, let’s both say the same thing at the same time. Ready? Both: Travel. Jensen: Perfect. No, really, for almost the entirety of this band we’ve almost always lived in different cities. We started in Reno and we both lived there, obviously, and I, almost immediately, moved to the Bay Area like six months after we started playing music together in this band. I lived there for a little while, then I came back to Reno and we lived in Reno together for a short time, then Jon, you moved to the Bay Area, right? Jon: Yeah. Jensen: Then I moved back to the Bay in 2003 or something, only for that summer. Then we both decided we’d move to Seattle together. This was 2007-ish, right around the time we were writing *Sexless//No Sex* and we were working at the same place, living in the same apartment, so we were together all the time. I think it made that record a specifically dialed-in idea and approach. Previously, we were always in different towns. When we wrote *Life. Iron Lung. Death.* we were living in different cities so we had to approach the record in a different way than we did when we wrote the first batch of songs when we lived together and were just coming up with how we were going to function as a band. So we had a slightly different process for the first album. For the second album, since we were living in Seattle, that was the farthest I think either one of us had lived from where we grew up. I was born in the Bay and was raised in Reno, Jon was raised in Reno as well, so that was home for us. When we moved to Seattle, it was a totally different situation to be in. The weather was different and the people were different; everything was different. That was a big factor in unifying what we were doing at the time. I think we made, and I think other people would agree, that’s the record that people gravitate to for the most part. That’s the one everybody knows the best. We got Nick Blinko artwork for that one so it really made a big splash when we put it out, and that was so awesome for us. With *White Glove Test*, Jon moved back to the Bay and I stayed in Seattle so we had created this distance between ourselves after 2000-whatever that was… 2009? Jon: It was 2010, yeah. Jensen: Since then, we’ve lived in different cities very far apart. It was a lot of moving between three cities that’s not ideal for being in a band, especially when it’s just two people. But also, because it’s just two people we’re able to circumvent a lot of the issues that bands with more members have. When you add stress to a situation, everyone’s personalities amplify and they either implode or get strong or whatever it is they do. But since it’s just the two of us, we have an easier time navigating that. We’ve worked well together for so long that it really makes the distance issue not a huge deal. *White Glove Test* was certainly that. We did the majority of writing for that record in San Francisco. I flew down and we would practice and just write the songs. It felt kind of crazy for a time because I think it was the first time we had been that far apart and still trying to do something creatively taxing, which was make an album. I love that record, I think that record’s great—and I like them all—but with each new album that we end up doing, we end up pushing our personal boundaries and our agenda further along each time we do something new. Which should be the goal of any band really, to improve and expand what it is they’re doing. I think that is certainly the case with this new album as well, and we really took our time with this one. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/03/IRON-LUNG-PICS-WITHOUT-WATERMARK-1.jpg) Jon Korltand, photo by [J. Donovan Malley](https://www.instagram.com/jdonovanmalley/?ref=see-saw.fun) **Jon, you’re back in Reno now. I know in the past you guys have described Reno as this really odd place. Kind of beautiful but has a real underbelly to it. What brought you back there and how does it feel to be there now?** Jon: Reno, when I first moved back, was really depressing. It was just a lot of tragedy and stuff going on. That was a huge influence on the writing for the record. But Reno has changed a lot since the time that we lived there. Obviously, so many things are gone and new stuff is there, and it’s whatever. But having that distance between us is not ideal. **For the entirety of Iron Lung’s existence, you could basically count on one release or more a year. After the *Savagery* EP in 2014, things slowed down on the release front. What precipitated that?** Jon: Well, we did start touring a lot at that point so there wasn’t a lot of time to write because we were just constantly playing, so that was one thing. I don’t know if we totally slowed down at that point after *Savagery* but we were just focusing on other things within the band. What do you think, Jensen? Jensen: 2013 and 2014, that was *White Glove Test* and *Savagery*, those releases are linked in my brain because we were doing so much around that time. We did this ridiculous tour of the United States for *White Glove Test* where we were going to play a show in every state that we’d not played a show in yet. We achieved that goal, which is amazing, but we just wanted to say that we played a show in all of the 50 states, which I don’t think a lot of bands really do. We were like, “If we route it in this weird way, we can do it.” We played Hawaii and Alaska and Maine, all these places that are kind of outliers for most touring bands. You don’t really go up there because it’s really a pain in the ass. As soon as we were done with that tour, we immediately did a bunch of other stuff. We went overseas a bunch, did some regional tours in the U.S., then we were bringing other bands over. We were busy; just so busy. In that time, we were able to write the *Savagery* record. We put limitations on what we were doing for that record. We didn’t want the songs to be super long because we wanted it to be the maximum amount of songs on a very short format. It was sort of protesting all the work we were already doing anyways. It was like, “Let’s do something easy!” **Especially after a record like *White Glove Test* which was kind of two, if not three, records in one.** Jensen: *White Glove Test* was a really involved process so I think we wanted to do something that was a short, sharp, shock kind of thing. We managed to do it. Then we brought a friend’s band from Spain over \[Una Bèstia Incontrolable\] and we did a bunch of touring with them in the U.S, then we went to Japan and Australia and Korea; we went to all of these places. That was right at the end of 2014 and I was really tired. I just needed a break for a little while because I was super burned out, and I didn’t want to hear our songs anymore. I just had to stop and do something else for a little bit. Certainly not break up the band or anything like that, I was just burnt and I needed a break. I intended it to be, I don’t know, six months, max. Then all these other life things happened. Because we weren’t touring as much, we had to figure out a different job situation for each of us. I’m lucky in that I have a job where they kind of let me go for as long as I want and I can always come back and it’s not a huge deal, but I know Jon’s situation wasn’t quite that easy in San Francisco, because it’s a very tough city to live in. You started working at the record store around then, right, Jon? Jon: I did. Jensen: And that became quite consuming. Jon: All-encompassing. Jesen: To say the least. Jon: And we can’t speak any more on that. *\[Laughs\]* Jensen: Yeah, we don’t want to talk about that. So that all happened and then we were like, let’s make a deal where we’re not going to play a lot of shows until we write something new. We got over the idea of wanting to be on a break or whatever and it was like, alright, I have some creative juices flowing again. So we started working on a new project. And, I don’t know, we just didn’t finish anything that felt cohesive and correct. I know we were doing other bands at the time too so maybe we were focusing on those a little bit more? It gets a little fuzzy. In that time, we had planned on doing other tours as well, we had some stuff in South America set up, but it was almost like we were getting distracted with playing shows or doing these tours or these other little things and it was taking away from time we could have been writing. We weren’t writing really effectively at that time and I, also, started a family in that time as well and that’s incredibly time consuming, and is still incredibly time consuming. We had a big festival thing in 2017, and we recorded the *Crutch Field* record in that time so we would have something new to release for this festival, but I don’t know if there was anything new that came out? Maybe there was a mixtape or something between that *Savagery* EP and that *Crutch Field* thing. It was slow going there for a little bit. Then after 2017, I think we were still trying to write some more stuff but we weren’t doing a ton of it. Our lives were really busy and we were just working on other shit. At that point, we’d been a band for 18 years or something. We were kind of like, “Well, whatever. We don’t need to release a record a year forever.” I know Neil Young has a lot of albums, like 69 studio albums or something like that, but nobody needs that much Iron Lung in their lives. Unless you have polio, then you need it. **How would you two describe your relationship to writing music for Iron Lung has changed since the early days? Were there specific intentions you had then that you still have now? Have your creative goals evolved over the years?** Jensen: For myself, I’m still definitely approaching this band from the same starting point that we had when we first started playing together. The intention was always that we were going to be singing about these old medical things, be it machines or practices or whatever. The only thing that changed as far as my lyrics go was, when we first started, it was very informational. The initial chunk of lyrics for songs was about very specific things. Our friend had shingles and he had an incredibly painful time in his life when he had this disease, so we wrote a song about the disease but not as much about his struggle with it. Over the years, I’ve gravitated more towards how people react to their situations in having to deal with their diseases or their affiliations and then subdividing that reaction into a little more of a political undercurrent. I started to see a lot of parallels between the politics of living in the United States and what the direct scientific connections to those things are and how that science affects people’s lives. I started double-writing lyrics that could speak to either part of that equation. That’s the main change that’s happened. But as far as our sound goes, or whatever influence we have worked from, I think those focal points have remained the same. I think that’s created a really nice anchor for us to behave as a band. You know how classic rock bands will be like, alright, we’re super into R&B and blues and whatever, like early Rolling Stones, then they hit that psychedelic period and they just change? Then they hit that strung out on drugs period, and they change again. Then they’re like, fuck, the ‘80s are here, I guess we gotta make a new-wave record, and they change again. But we’ve never changed with the times like that. We’ve always come at it very focused in what we want our sound to be and haven’t really deviated from that much at all. We’re steadfast in that way. Jon: One thing that I think is funny is that, when we started, the sound we were dealing with was sort of out of vogue. Jensen: Very true. Jon: It was waning. It was sort of a bad word to say “powerviolence.” We embraced that; that’s what we like. We were against the grain from the beginning, so it didn’t really matter what we were doing. That being said, we can really do whatever we want. I do think that the lyrics have changed. They have become more personal and more humanized, and more socio-political for sure, because how could it not be at this point? But the approach to writing the music, in some senses, I would say it’s slightly different because we’re older and our bodies function differently. We have more knowledge of certain things but it’s basically the same approach. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/03/IRON-LUNG-PICS-WITHOUT-WATERMARK-2.jpg) Jensen Ward, photo by [J. Donovan Malley](https://www.instagram.com/jdonovanmalley/?ref=see-saw.fun) **Jensen, I know you had to have some surgeries and you had some shows where B. was playing drums and you were just singing. I know, as someone who had some medical stuff happen, it made these songs hit in a different way for me. How did it feel to devote a good chunk of your creative life to exploring the ugliness of the medical industry and then become reliant on it to allow you to keep on doing that?** Jensen: I definitely have gone through, as you put it so succinctly, “medical stuff.” *\[Laughs\]* I’ve had a lot of surgeries but none of them were really crazy ones. I’ve never had to have a heart transplant, nothing super crazy like that. All of my stuff is related to overuse or skateboarding injuries. I had to get a bunch of knee surgeries, and then my wrist, which goes back to 2007 when Jon and I worked together in this kitchen. I got a repetitive stress injury to my wrists and I think the amount of touring we did between then and when I eventually got carpal tunnel surgery, it got so bad. After I quit the kitchen job I was doing a lot of construction and cabinetry, which is really, really intense on your hands. Overuse from work, both of those jobs, and then also playing drums constantly, in multiple bands, did a number on my wrists and fingers. I got double carpal tunnel surgery on my wrists and I wasn’t able to play drums for a while. I think, even when we told people… I remember a show one time where I was talking about how I couldn’t feel my hands on stage. We were playing these songs and we’d have to stop all the time, not mid-song, we’d make it through the songs—luckily our songs are short—but I’d be shaking my hands like crazy because I couldn’t feel anything. Or I was wearing gloves because they had more grip on them or something. I was doing all these things that were very obvious that something was wrong if someone was paying attention; I didn’t make a big deal out of it. I remember announcing at this show, “I can’t feel my hands so it’s going to take me a second,” and I just talked a bunch of shit on the microphone, which people like for whatever reason. So I said, “I can’t feel my hands,” and then somebody in this song just goes, “the stranger!” I didn’t know what that meant. *\[Laughs\]* Apparently that’s a thing that you do when your hands are totally numb and you masturbate and it’s like a stranger is jerking you off or something like that. I was like, “Okay, that’s where people’s heads are at so I need to approach speaking publicly about these issues in a different way.” I’m having this moment of vulnerability on stage and it was met with this incredible sarcasm, which is hilarious, because it is a super funny thing to say, and I’m sure I just laughed it off, but I was just like, “Well, this is weird.” This is an intensely personal thing where you have an injury or some sort of ailment that you have to deal with to the point where you need to employ the American health system. It’s certainly not an easy system to navigate, it’s an expensive thing and, a lot of times, it just doesn’t work. We’ve written songs about that sort of thing for a long time. I don’t know how many friends or family members you’ve had who have gone through any sort of medical stuff but it never really seems to work out for anybody the way that it should, and that’s ridiculous. Our country has a ton of money, we should be able to take care of its citizens, but we don’t. That’s the shortest version of it, and it’s not exactly a news story that anybody doesn’t already know, but having to process going through all of that, personally, is really hard. I don’t really know how else to put it. It’s just such a difficult thing to do. I also didn’t have health insurance for a long time. When I injured my knees I had to walk around with a completely severed ACL for two years. I had all kinds of other stuff going on that was sort of related to that before I could get a job where I specifically did not tell that job that I had this pre-existing condition in the hopes that they would give me insurance so that I could use that insurance to get this surgery on my knee. I was able to do that, ultimately, but it took a long, long time. It shouldn’t ever take someone that long. Now, because I waited so long, I did more damage to my knees than I should have. As I’m getting older, I’m now having to deal with a lot of those issues and it really, really sucks. **Man, I’m really sorry. That’s just awful.** Jensen: You know, it’s not ideal but, at the same time, my internal organs are healthy so there’s that. I can be fully cognizant in my suffering with all my joint pains *\[Laughs\]* **The curse of consciousness. *\[Laughs\]* Following that, the pandemic happens and there’s this very brief moment of people recognizing this is a fragile system and we’re all vulnerable because of it. But from what I can tell from this new album, there’s this exploration of what those things do to someone’s mental health as well as their physical health. What about going through that opened you up to explore this topic on *Adapting // Crawling?*** Jon: Well, it was very personal for me. The pandemic was a time that was a complete avalanche of garbage pushed at me. I had never experienced that kind of avalanche. I had health problems. I lost my mom. I lost tons of friends. I lost pets. And I know other people did the same. How could it not be personal? We have to write about what we feel at that point. It’s much more difficult to be medical and impersonal about it. There’s definitely that aspect of the pandemic. We were also having a very difficult time writing music during that period. For me, it was a completely nonexistent creative period. It was a really hard time to navigate. **First off, I want to extend my condolences for everyone you lost during that time. I’m really sorry, Jon. On a similar plane, I know some people who were productive during that period of time but for me it was a fucking brickwall.** Jon: It absolutely was. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/03/IMG_0006.JPG) Iron Lung, photo by Christina Hamilton **With the physical distance between you two, I imagine that only highlighted how far you were from your creative outlets.** Jon: It definitely did. I was very, very isolating towards myself. It was a strange time, and it was a strange time to come out of into another… whatever world we’re in now. It’s all reflective in the lyrics at this point. Jensen: I had a really similar experience to Jon in that I could not make any music at all. That whole time that we were locked down was just me watching the news and being so freaked out by the world. In our band, we’ve written a multitude of songs around polio. The way that people behaved during the major polio epidemic in the ‘50s, and the way that people behaved during the COVID pandemic, are eerily similar. There was a lot of willful ignorance as far as the information that was out. As we were locked down, we’re learning new things about COVID all the time, because it’s essentially a new thing, even though it’s a virus-based thing, and we’ve dealt with viruses in the past, be they measles—welcome back!—or polio—also, welcome back!—or any of the things you get vaccinated for when you’re a kid. Mumps, rubella, whatever, we’ve had different outbreaks and epidemics that people have had to deal with over the years but polio was the one that we looked at the most, for obvious reasons, which is where iron lungs come from. People’s behaviors, and the resistance to wearing a mask, was shocking. With the influenza thing in the early 1900s, it was a flu that went around that killed a bunch of people and everyone was just like, “I’m not wearing a mask! Fuck that! That’s crazy!” I saw so much of that being mirrored in how people were reacting to COVID. People who were having superspreader parties where they were like, “We’ll all get it and we won’t have to worry about it anymore” and then all those people died. It’s like, well, okay, that didn’t work. I would have to go grocery shopping and I’d wipe down my food with alcohol or whatever, all the crazy things people were doing to try to stay safe, then there were other people who were like, “I’m going to take horse dewormer! We’re going to inject bleach and suntan our nuts!” All this stuff that people come up with to try to solve these problems except for logic and common sense. If you can stop the spread of this thing by wearing a mask in public, that’s a very easy thing to do. In Asian cultures, if you get the flu or have a cough, you wear a mask in public. It’s the most basic, simple thing that stops the spread of infection very effectively. I don’t know why everyone here was so resistant to it. I think it’s our sense of American freedom and this “don’t tread on me” mentality. I understand wanting to be your own boss and rejecting what it is that authorities will tell you to do. I get it. Also, wearing a mask? Uncomfortable. If you’re a glasses-wearer \[*Jensen gestures to the camera*\] all three of us, it fogs up inside, it’s super annoying. I had to try to work during all of that too? It was awful. But we made it through. They came up with a vaccine that was effective and we were able to start hanging out again. But during that time, there was no traveling, at least not for me or Jon. The creativity just stopped for me. It created this mental block where I was like, the last thing I want to do is sit down with a guitar and strum some chords and come up with a cool riff. Because at what point would that riff make it to a person’s ear? Because we’re never going to play a show. We’re never going to practice. We’re never going to record these songs. There are all these things in my head that we were never going to do again because this shit’s over. I had very little hope that anything was ever going to get back to normal. It created this block for me that I just couldn’t get past. At one point during the pandemic I wrote a twenty second piece of music that we ended up changing and using for this new album but it was the only thing that I did. Twenty seconds of music was the only thing that I wrote during that entire lockdown period. That and I had to do, for my work, we were doing these telethon things, and I had to write a Christmas version of the *Night Court* theme song. So I didn’t write anything, but I did learn it and put some jingle bells in it instead of the whistle, but that was the extent of my creativity. It was really, really bad. And mentally, it was extremely difficult. Super depressed, super anxious, and just angry, and I couldn’t channel it effectively into anything. **When did that dam kind of break? When were you having discussions, both from the societal safety end, and from the personal, mental end, did it feel like you could get back in a space of doing Iron Lung again?** Jon: We started recording a record in 2019 just prior to everything going to shit and we weren't happy with it. We were discussing, the whole time, how we could change it or what we could do and not coming up with any kind of answers for it. Honestly, it was probably two years ago when we just started rewriting everything and rethinking the whole process. How things opened up, we opened up with it, too. I was kind of resistant. I was a long-time mask-wearer. I was the only person on the plane wearing a mask. Everybody’s thinking I’m super crazy, which I probably am, but I didn’t care. But we started working through it and we basically started from scratch. Maybe not having that creative time we were able to build everything up and just push it forward. Granted, it did take a while to do that but I think, at that point, we were like, we need to make this the best that we can so let’s just keep working on it. If that doesn’t work, we’ve got to scrap it and move on to something new. Jensen: I’m glad that we had that time to reset. I know that, at the end of 2019 when we did that session, it was such a disappointment. We spent all this time on it and came out of it and were just like, “Ehh.” Then everything fell apart. It was like, geez, what are we doing? We have 40 minutes of music recorded and I don’t want to do anything with it. I don’t want to think about it. Then the world said, “You don’t have to.” *\[Laughs\]* After both being vaccinated and being able to fly, we were slow to be able to get back to the process of writing and creating anything. I think we were still processing a lot of what happened during that lockdown era. It sucked, man. **I think it’s really admirable that you didn’t release that 2019 record because it felt like, in 2021 and 2022, it was a real boom period for music. Bands were releasing a ton of stuff, touring a bunch, there were a ton of reunions because of nostalgia for the before times. You probably could have just put that out and had people get really excited for a new Iron Lung record, but you held yourselves to a higher standard. Coming back to that material, did you pull anything from that release for *Adapting // Crawling*?** Jon: Very few of those pieces ended up on the new record, as far as I can tell. If they’re on there, they are so mutated at this point. That other record is a whole ‘nother record that’s where it belongs—in a vault. *\[Laughs\]* Jensen: We sort of reconfigured one song from that session and that was it. I’m glad for that. Everything that we wrote after, once we got back to it, everything leading up to this new album is some of our best work, realistically. We pushed ourselves to make something that’s new and fresh and really intense. I think a lot of that sprung from being cooped up for a long time and not being able to do what it is that we’re here to do. It’s great to be reinvigorated in that way. **I’ve always viewed Iron Lung as a progressive band, not in that classical sense, but *White Glove Test*, then *Savagery* having a different concept, and everything having a deliberate evolution behind it. Looking at this album there’s the song-infecting-another-song concept of “Purgatory Dust,” “Virus,” and “Purgatory Dust (finale)” all intersecting. How did that concept come up and how much work did it take to make it a functional piece of the album instead of a gimmick?** Jensen: Music is a fun thing to play around with, and people have always had cool and innovative ideas, and us putting a sound inside of another sound is certainly not a new thing, but I always wanted to do that. I always wanted to put a song inside of another song. The pandemic, and being able to write about the pandemic, we had a unique situation where we could write about how people were reacting to this outside pandemic trying to attack them or kill them or not affect them at all, however people were feeling about it. We could write about that and their behaviors but also, we could infect that song with the very thing they were reacting against with a completely different tone. I don’t want to say “sound scientists” because that sounds really pretentious and we’re definitely not but I sort of approached it that way. I was like, “We’ve got to put this idea inside of this other idea and then present it as one idea.” We were able to pull it off, which is really cool. Other than that, I don’t know how to answer the question that I already forgot that you asked. \[*Laughs\]* It was something I always wanted to try and I’m really happy we were able to pull it off. Jon: I loved the puzzle of it. I love to experiment with stuff and the idea presented was like, “Okay, really? How do we do this?” It did take a few tries to make it right. It was kind of complex and, I mean, those are the kinds of things I always like on recordings. I do appreciate a studio. I do appreciate a live recording also, but there’s a lot of things you can do in a studio that are interesting and fun that sound new and fresh, or they sound like something that’s been done before but it’s still somewhat new and fresh. Jensen: I don’t know of a lot of punk records that have that sort of thing on it. Jon: Absolutely not. Jensen: It was fun to be innovative in that way within our genre. I like the idea of pushing punks to listen to our music and be challenged by it. At the end of the day, we’re still a hardcore band. We play fast, angry songs that are loud. We’ve always been that. We’ve always been a hardcore punk band. I love the idea of a kid whose only sense of what punk is is listening to the new noise-pogo thing or the new beatdown thing, it’s collectively in the same zone. If we can convince those kids to listen to this and be like, “What the fuck is this? This is different. It’s still kind of what I listen to, I guess? I don’t know.” I love that “I don’t know” phase in people’s heads and I want to explore that all of the time. That’s one of our favorite things when we play shows, too. I don’t know how many times we’ve played with other bands that are quote-unquote powerviolence bands or whatever, all the kids in the crowd go crazy, jumping on each other or moshing or whatever and then, when we play, everyone just stands still and just watches us. For a long time I took that as, oh, people don’t like our band, but I don’t give a shit anyway because we’re gonna do what we’re gonna do anyway because this is what we like. But then I was like, maybe they’re just watching us because they don’t understand what we’re doing or they’re trying to pay attention to what we’re doing more than just something that’s easily digestible where you don’t have to think about what they’re doing and can just mosh. I choose to believe that all the people in the crowds are watching us like, “Holy shit this is weird. I want to soak it all in.” But if I’m wrong, then I’m happy to enjoy my delusions of being this great innovator that people want to pay attention to. *\[Laughs\]* **To talk about the sociopolitical element, we’re talking about disease and mental health at a time when the head of the HHS is basically saying that people should have medications taken away and they should go to work camps because he believes in eugenics. Much like we say the cyclical nature of human nature between the polio epidemic and the COVID epidemic, it feels like this record is coming out at a time when we’re weeks away from doctors prescribing lobotomies again.** Jon: It’s weird to me sometimes. Like you said, everything is cyclical, but it’s like, did we come up with this prophecy and now it’s happening? That would be completely delusional to think that but it is very strange. These lyrics were not written for this exact moment but it’s like, well, I guess the divining rod was going the right direction. It’s hard to explain, you know? Jensen: There’s also that idea of history repeating itself. Humans are predictable in that way. A lot of people will always react the same way to a new set of stressors. I think a lot of the lyrics that we’ve written this time around kind of speak more to the general behavior. Yes, our HHS guy is… how that came to be is a whole different discussion, and it’s awful. We’re all certainly going to be a lot worse off. We wrote the lyrics for this new record with that grander sense in mind. When you can speak to the experiences that other people have had, that tends to last a lot longer than a very specific cultural reference or time reference to something. I know, from my end, I wanted to write lyrics that could last and be adaptable to more than one specific scenario. I think that this record was successful in that way, certainly. **I keep going back to the lyrics that open the record: “Whatever we were, we are certainly not that now.” It’s so simple but it’s really stuck with me.** Jensen: It’s a really strong statement, and I’m glad that’s the first song on the record because it really does set the tone of what we’re going for. Whatever we were before, it’s not that anymore. It’s different now. It’s gone. We’ve all changed. We all went through a thing that was awful and crazy and we’re all affected by it whether we want to admit it or not. We’ve come out of it being different people. Whether we’re worse or better, I don’t know, I think some of us can claim either direction on that one. I know that I don’t feel good most of the time. *\[Laughs\]* I hope this record kind of speaks to that mentality. **Hearing you two talk about the band’s history, and everything that went into making this record, you’ve both survived a lot that could have broken up most bands. Especially in punk and hardcore, where doing something for a couple years and then moving on once stresses hit, that’s pretty normal. Have there ever been discussions of ending the band?** Jensen: We’ve always felt like we should be a band for as long as we’re able to create something that’s worthy of being in a band. We have never really talked about breaking up. I don’t know if we would ever really break up, we would just do something different. If Iron Lung runs its course, I’m certain that Jon and I would play together in whatever the next thing would be. Jon: Most definitely. Jensen: But between him and I, there doesn’t really seem to be any sort of endpoint. We just work so well together, and this specific band can adapt and grow with the way that people change, and that’s because we haven’t set limits on it for ourselves. No one can tell us what to do because we release our own records, we’re not driven by a profit, so the money part of it is also not a factor in what we do. Really what this is, it’s 100 percent artistic freedom. There’s no stopping that. You can’t kill the integrity of something like that. Jon: It’s funny, we were discussing a new recording pretty much right after we were done mixing this record. We weren’t even done with this record and we were already discussing that we should do this sort of thing next. We always have some kind of concept to get along with it. Whether it ends up being that or not, who knows. But we’re still discussing the future, which is crazy at this time. Jensen: I’ve got nothing else to look forward to is what it boils down to. *\[Laughs\]* ### punk this week: pyrex, yuasa-exide, eddy current suppression ring + 10 more URL: https://see-saw.fun/punk-this-week-pyrex-yuasa-exide-eddy-current-suppression-ring-10-more/ Last updated: 2025-03-07T17:22:57.000Z Hey it’s Punk This Week. I’m traveling at the moment but didn’t want to miss an installment of the column on this loaded Bandcamp Friday. The word count has been kept to a minimum. Between new Pyrex, Yuasa-Exide, So Cow, Total Con, Boo/Hiss, Pat and the Pissers, and more, there’s so much incredible stuff out this time around that merits your attention. Do you want to read about all of these records, this week and every week? Punk This Week is available to paid subscribers (and [those who barter](https://see-saw.fun/bartering/) their way across the paywall). Free subscribers still have access to weekly offerings including interviews, podcasts, playlists, and radio shows. **Paid subscribers now get a two-week free trial.** [Please consider a subscription](https://see-saw.fun/punk-this-week-punter-ada-oda-the-men-16-more/#/portal/), free or paid, to help grow this reader-supported endeavor. --- **Pyrex:** [***Body***](https://pyrexnyc.bandcamp.com/album/body?ref=see-saw.fun) **\[Total Punk\]** Ever since the last Pyrex album a couple years ago, the Brooklyn muscle punks have stayed busy, but their sick 7” on Under the Gun just left me wanting more. *Body* is an incredible payoff and likely their best album yet—this attack of post-punk guitars and feral vocals and a hardcore pummel. “Nerve Ends” is excellent, this dark vortex that’ll easily sweep up the listener into its build, whereas a track like “Coma” is more of a sprint. I’ll have it all, please. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/03/a4236063907_10.jpg)](https://pyrexnyc.bandcamp.com/album/body?ref=see-saw.fun) --- _This post is for paying subscribers only._ ### punk this week podcast 25: shirthole + see/saw’s l.a. benefit URL: https://see-saw.fun/punk-th/ Last updated: 2025-03-04T14:18:03.000Z ![audio-thumbnail](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/media/2025/03/punk-this-week-25_mixdown_thumb.jpeg) punk this week 25: shirthole + see/saw’s l.a. benefit 0:00 /3712.056 1× Punk This Week *is see/saw’s weekly podcast from co-hosts Evan Minsker and Nina Corcoran, breaking down the latest releases in the world of punk rock. We talk about six new punk records we’re loving from the past week.* It’s a bit of a strange one this week, as one of the two main picks is a new [40-song benefit compilation](https://see-saw.fun/battle-for-l-a-a-see-saw-benefit-compilation/) put together by Evan. We also bring some fantastic new records by very new bands [Shirthole](https://shirthole.bandcamp.com/album/beef?ref=see-saw.fun), [Piggy Bank](https://bestsupportingactress.bandcamp.com/album/pattern-recognition?ref=see-saw.fun), and [Juicin](https://juicin.bandcamp.com/album/zig-zag?ref=see-saw.fun). We also catch up with [Punter](https://drunkensailorrecords.bandcamp.com/album/australienation-lp?ref=see-saw.fun) and celebrate [Strawberry Moon](https://sockhead.bandcamp.com/album/smoon?ref=see-saw.fun). Also discussed: Pretzel flavor and density preferences, [Yuck’s self-titled album](https://yuck.bandcamp.com/album/yuck-deluxe-version?ref=see-saw.fun), Daniel Blumberg’s Oscar-winning *The Brutalist* score, Spacebomb Studio, Minus the Bear, Jonah Falco, [Kathleen Hanna’s episode of “What’s in My Bag?,”](https://www.youtube.com/watch?v=vRTAEtc%5FnwA&ref=see-saw.fun) and the [punks for Palestine compilations of 2024](https://see-saw.fun/buy-these-punk-for-palestine-benefit-releases-from-2024/). --- Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.fun). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/seesawdotfun/?ref=see-saw.fun), [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun), and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). Have a question you’d like to hear addressed on the show? Want to send us a bumper? Email us: [see-saw@see-saw.fun](mailto:see-saw@see-saw.fun) *Punk This Week* is made possible by see/saw subscribers; please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-24-ekgs-truck-violence/#/portal/) if you enjoy this podcast. You’ll learn about way more punk records than we can pack into the podcast! ### battle for l.a.: a see/saw benefit compilation URL: https://see-saw.fun/battle-for-l-a-a-see-saw-benefit-compilation/ Last updated: 2025-03-03T15:36:30.000Z [***BATTLE FOR L.A.: a see/saw benefit***](https://see-sawdotfun.bandcamp.com/album/battle-for-l-a-a-see-saw-benefit?ref=see-saw.fun) features 40 previously unreleased punk and rock'n'roll songs. In an effort to help individuals and families who lost homes in the Eaton and Palisades fires, proceeds will be allocated to multiple [fundraising efforts](https://www.gofundme.com/c/act/wildfire-relief/california?ref=see-saw.fun) for those in need of assistance. It’s a massive pile of music for $10, or whatever additional amount you’d wanna give, [on Bandcamp](https://see-sawdotfun.bandcamp.com/album/battle-for-l-a-a-see-saw-benefit?ref=see-saw.fun). [There are 100 cassettes available via **Knuckles on Stun**](https://www.knucklesonstun.com/shop/p/vhwvgqelg7xvncj66d0hjnqkr6og9l?ref=see-saw.fun). Half are on transparent red tapes, the other half on transparent yellow. They’ll include download codes. They’re expected to ship by March 10\. I curated it, [**Tyler Nickell**](https://www.tylrnckll.com/?ref=see-saw.fun) did the artwork, and **Andres Wade** took care of mastering. --- My deepest, sincerest thanks to every artist who submitted a song. I’m still in some form of disbelief that **Shogun** dug into his hard drive and unearthed a ballad, Annie Sparrows from **Panel** entrusted me with the “Victoria” demo, Connie Voltaire wrote a new **Neo Neos** song called “see/saw,” **Buio Omega** went full Minneapolis with a Hüsker Dü cover, Rob Craig slid over a **DOOM III** track that stands up with his best Buck Biloxi and Giorgio Murderer stuff, **SPLLIT** finished up an old demo for this, and **Tyvek**—probably my favorite band on the planet**—**got together to record a new song for this. **Sweeping Promises** recorded their cover of the Prince-penned Bangles classic “Manic Monday” at their home studio in Lawrence, Kansas while working on their forthcoming as-yet unannounced new album. “I have a funny relationship to this song,” Lira Mondal wrote. “My mom was/is a huge Bangles fan, and when I was a little girl—like, 7 or 8—she made me memorize the song and sing it to her co-workers in the cosmetic aisle of a Wal-Mart (one of her many odd jobs growing up), and it’s one of the most bewildering memories I have of singing in public.” Shout out to all the Aussies who brought their A-game for this one, including **Gee Tee**, **Busted Head Racket**, **Billiam**, **the Judges**, **Meow Meow and the Smackouts,** and **Piss Wizard**. The comp closes with a stunning new song from **Chelsea**, and another member of the Submissives appears on track 30 under the name **Teetotaller**. It rules to have two absolute rippers from two of Detroit’s finest in **TY** and **COFFER**. I was legitimately giddy that **Adult Human Females** had an extra recording from their exceptional *Live at Tompkins Square Park* record from last year. Keeping it all in the family is the DC krautrock trio **Motherfuckers JMB & Co.**, who appear herewith “Kind.” That band features my cousin Marc Minsker on guitar/bass, Jim Thomson on drums, and Brian Weitz (Animal Collective’s Geologist) on hurdy-gurdy. Marc is one of my heroes and this band is extremely sick. All of these bands put out records I strongly recommend from the past year or so: **Bermuda Squares, Celebrity Sighting, Still Animals, Yuasa-Exide, Benzin, Twisted Teens, Shrudd, Waylon Thornton, nunofyrbeeswax,** and **Ace of Spit**.It means a ton to include the work of newer bands like **P. Noid**, **Answering Machines**, **Poo Poo Talks**, **Sonia,** and **Pizza King Girl**. The **Fugitive Bubble** track will appear on the band’s next full-length, which is coming soon on Sorry State. **Abi Ooze** never misses, and in the middle of a tour, sent over a hit. **Motorbike** are about to put out a new album, shout out Jerry for passing along a demo. Eau Claire’s **gash** embark on an odyssey with their track, which is exactly what I want and expect from their records. I enjoy **Beer**’s EPs more than I enjoy beer. This song kicking off with a huge burp? Mama mia. Thanks to all the punk rockers who made this project possible. [Go buy yourself a copy of this thing](https://see-sawdotfun.bandcamp.com/album/battle-for-l-a-a-see-saw-benefit?ref=see-saw.fun) --- [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/03/Battle-For-L.A.-Finals-01.jpeg)](https://see-sawdotfun.bandcamp.com/album/battle-for-l-a-a-see-saw-benefit?ref=see-saw.fun) ***BATTLE FOR L.A.: a see/saw benefit*** 01 TY: Stuck 02 DOOM III: Outside Dogs 03 Gee Tee: Hit With a Club 04 Benzin: Immer Noch 05 Meow Meow and the Smackouts: Bubonic Babe 06 Sonia: Emotional Pickle 07 Motherfuckers JMB & Co: Kind 08 Adult Human Females: This Town (Live at Tompkins Square Park) 09 Busted Head Racket: Hard to Reach (demo) 10 Beer: Johnny Cakes 11 Twisted Teens: Circus Clown 12 Abi Ooze: TALL KING 13 Poo Poo Talks: Shit Pants 14 Shrudd: Stagnant 15 Neo Neos: Altoona Beach - see/saw 16 Shogun: No Home 17 Answering Machines: Telephone Wire 18 Sweeping Promises: Manic Monday (The Bangles cover) 19 Celebrity Sighting: Savior Complex (demo) 20 The Judges: Ripped Off 21 Fugitive Bubble: E.F.T.I.O. 22 gash: everyone I know 23 Piss Wizard: Walls 24 Yuasa-Exide: Spit 25 Motorbike: True Method (demo) 26 COFFER: NINETEENTH NERVOUS BREAKDOWN 27 Panel: Victoria (demo) 28 P. Noid: Won’t You Come Home 29 Billiam: Wesfarmers Song 30 Teetotaller: Post Concussion Reds 31 Bermuda Squares: Asphyxia 32 Tyvek: I’ve Got TV 33 SPLLIT: Bricks Are Splayed 34 nunofyrbeeswax: Never Will (alt) 35 BUIO OMEGA: TARGET (Hüsker Dü cover) 36 Pizza King Girl: Pac Man Roller Skates 37 Waylon Thornton: Sister Bubblegum 38 Still Animals: For the Cosmic Score 39 Ace of Spit: Tiger Tracks (demo) 40 Chelsea: Leave It All to the Dogs ### punk this week: punter, ada oda, the men + 16 more URL: https://see-saw.fun/punk-this-week-punter-ada-oda-the-men-16-more/ Last updated: 2025-02-28T18:56:32.000Z Hey, I want to encourage everyone to honor the economic blackout today (February 28). Spend cash + buy local. Listen to these records, add them to your Bandcamp wishlist, and support all these artists tomorrow (or on Bandcamp Friday or whatever). Anyway, this is Punk This Week, see/saw’s weekly column where I recommend some stellar new punk and rock’n’roll records that just came out. The final installment of February makes the case that it’s been a genuinely wild month for new punk records. Let’s discuss the return of Punter and the Men, a stunning farewell of sorts from Ada Oda, some welcome next steps from Game Set Match and Palanta, and one of my new favorite records of the year so far from a group called Piggy Bank. Do you want to read about all of these records, this week and every week? Punk This Week is available to paid subscribers (and [those who barter](https://see-saw.fun/bartering/) their way across the paywall). Free subscribers still have access to weekly offerings including interviews, podcasts, playlists, and radio shows. **Paid subscribers now get a two-week free trial.** [Please consider a subscription](https://see-saw.fun/punk-this-week-wesley-the-boys-ekgs-rough-francis-14-more/#/portal/), free or paid, to help grow this reader-supported endeavor. --- **Punter:** [***Australienation***](https://drunkensailorrecords.bandcamp.com/album/australienation-lp?ref=see-saw.fun) **\[Drunken Sailor/Televised Suicide\]** Just two years after Punter’s self-titled album arrived, where they held the Australian government in contempt for the way the very rich profited off the COVID-19 lockdown, the Melbourne band is back with *Australienation*. It feels very much like a direct sequel to the last record in both sound and fury. They’re absolutely appalled at complacency, illustrate the realities of power imbalance while lambasting anyone who bends a knee to billionaires. And yes “it fucking rips” but also in classic Punter fashion, there’s so much nuance to the way these songs are built. As always, I’m obsessed with the way Nathan Burns' vocal cords sound like they’re being dragged deep through a gravel path toward righteousness. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/02/a2725742160_10.jpg)](https://drunkensailorrecords.bandcamp.com/album/australienation-lp?ref=see-saw.fun) --- _This post is for paying subscribers only._ ### punk this week podcast 24: ekgs + truck violence URL: https://see-saw.fun/punk-this-week-podcast-24-ekgs-truck-violence/ Last updated: 2025-02-25T14:29:26.000Z ![audio-thumbnail](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/media/2025/02/punk-this-week-24_mixdown_thumb.jpeg) punk this week 24: ekgs + truck violence 0:00 /3079.248 1× Punk This Week *is see/saw’s weekly podcast from co-hosts Evan Minsker and Nina Corcoran, breaking down the latest releases in the world of punk rock. We talk about six new punk records we’re loving from the past week.* Pittsburgh hardcore wreckers[**EKGs**](https://killenemyrecords.bandcamp.com/album/ekgs?ref=see-saw.fun) and Montreal multihyphenates [**Truck Violence**](https://truckviolencesl.bandcamp.com/album/violence?ref=see-saw.fun) headline a week of multitudes—[**Anxious**](https://anxious18.bandcamp.com/album/bambi?ref=see-saw.fun)’ shiny pop punk and [**Wesley & the Boys**](https://wesleyandtheboys.bandcamp.com/album/rock-roll-ruined-my-life?ref=see-saw.fun)**’** dive bar scuzz, [**Rough Francis**](https://roughfrancis.bandcamp.com/album/fall-ep?ref=see-saw.fun) keeping the Death family legacy bubbling and [**Public Toys**](https://rivertrashrecords.bandcamp.com/album/public-toys?ref=see-saw.fun) knocking shit over. Also discussed: [*If I Was a Horse*](https://www.hachettebookgroup.com/titles/sophie-blackall/if-i-was-a-horse/9780316510981/?ref=see-saw.fun) by Sophie Blackall, [*SHAME*](https://durex.bandcamp.com/album/shame-2?ref=see-saw.fun) by DUREX, the [*Disastrous Transgenderism*](https://disastroustransgenderism.bandcamp.com/album/disastrous-transgenderism?ref=see-saw.fun) benefit compilation,[*A Band Called Death*](https://www.youtube.com/watch?v=RDPDm9%5FnX0o&ref=see-saw.fun)*,* [*...For the Whole World to See*](https://deathfromdetroit.bandcamp.com/album/for-the-whole-world-to-see?ref=see-saw.fun)by Death, [*Take It Easy... But Take It!*](https://see-saw.fun/punk-this-week-wesley-the-boys-ekgs-rough-francis-14-more/) by Crusaders of Love, [Jimmy Eat World](https://www.jimmyeatworld.com/?ref=see-saw.fun), the Sleeveens’ [self-titled](https://thesleeveens.bandcamp.com/album/the-sleeveens?ref=see-saw.fun), [*Raw Sewage Roq*](https://timmysorganism.bandcamp.com/album/raw-sewage-roq?ref=see-saw.fun) by Timmy’s Organism, a [see/saw Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun) joke about Nina breaking noses, Southern Lord’s [Truck Violence pressing](https://southernlord.com/store/truck-violence-violence/?ref=see-saw.fun), [the Flenser](https://nowflensing.com/collections/chat-pile?utm%5Fsource=google&utm%5Fmedium=cpc&utm%5Fcampaign=21483135495&utm%5Fkeyword=the%20flenser%20merch&utm%5Fmatchtype=b&utm%5Fdevice=c&gad%5Fsource=1&gclid=Cj0KCQiA8fW9BhC8ARIsACwHqYqAS3GGrwUk5DVbCxyQKhHdwfGg-R2K%5Fa-3oDb6rkGubBYPvSCyx0waAk2-EALw%5FwcB), [see/saw radio 19 with Gem Fair](https://see-saw.fun/see-saw-radio/), and tickets for [year 1: a see/saw party](https://see-saw.fun/get-your-tickets-to-year-1-a-see-saw-party-in-minneapolis/). --- Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.fun). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/seesawdotfun/?ref=see-saw.fun), [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun), and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). Have a question you’d like to hear addressed on the show? Want to send us a bumper for the show? Email us: [see-saw@see-saw.fun](mailto:see-saw@see-saw.fun) *Punk This Week* is made possible by see/saw subscribers; please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-23-the-none-heavy-mother-ii/#/portal/) if you enjoy this podcast. You’ll learn about way more punk records than we can pack into the podcast! ### punk this week: wesley & the boys, ekgs, rough francis + 14 more URL: https://see-saw.fun/punk-this-week-wesley-the-boys-ekgs-rough-francis-14-more/ Last updated: 2025-02-21T20:27:11.000Z Y’all aren’t still arguing about punk subgenres, are ya? Focus up, because it’s time for the latest installment of Punk This Week, see/saw’s weekly column recommending new punk and rock'n'roll records. We got a new one from Nashville’s **Wesley & the Boys**, some essential Pittsburgh hardcore from **EKGs**, a great new EP from Death’s heirs **Rough Francis**, plus records from **SPY**, **Problem**, and bands from all over the damn globe. Do you want to read about all of these records, this week and every week? Punk This Week is available to paid subscribers (and [those who barter](https://see-saw.fun/bartering/) their way across the paywall). Free subscribers still have access to weekly offerings including interviews, podcasts, playlists, and radio shows. **Paid subscribers now get a two-week free trial!** [Please consider a subscription](https://see-saw.fun/punk-this-week-rapid-dye-heavy-mother-ii-split-system-2/#/portal/), free or paid, to help grow this reader-supported endeavor. --- **Wesley & the Boys:** [***Rock & Roll Ruined My Life***](https://wesleyandtheboys.bandcamp.com/album/rock-roll-ruined-my-life?ref=see-saw.fun) **\[Sweet Time\]** Call it kismet: “Fight on the Internet” by the Nashville garage punks Wesley & the Boys arrived right as the fate of egg punk was litigated and debated en masse. Fighting on the internet is nasty business, and this song does a pretty good job of making an internet fight feel like a street fight. Truly, this beefy rock’n’roll music is all about throwing hands, telling people to fuck off, and so on. There’s definitely a place for tough music about feelin’ tough, and in that way, *Rock & Roll Ruined My Life* feels like a rare bird in 2025\. It’s rock’n’roll music that feels indebted to ’70s hard rock, chugging and heavy with just the slightest glimmer of glam. It’s fun as hell and there could be a lot more out there like it. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/02/a0606227331_10.jpg)](https://wesleyandtheboys.bandcamp.com/album/rock-roll-ruined-my-life?ref=see-saw.fun) _This post is for paying subscribers only._ ### punk this week podcast 23: the none + heavy möther ii URL: https://see-saw.fun/punk-this-week-podcast-23-the-none-heavy-mother-ii/ Last updated: 2025-02-18T13:48:43.000Z ![audio-thumbnail](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/media/2025/02/punk-this-week-23_mixdown_thumb.jpeg) punk this week 23: the none + heavy möther ii 0:00 /3123.384 1× Punk This Week *is see/saw’s weekly podcast from co-hosts Evan Minsker and Nina Corcoran, breaking down the latest releases in the world of punk rock. We talk about six new punk records we’re loving from the past week.* Do [the None](https://thenone.bandcamp.com/album/care?ref=see-saw.fun) still have the goods on their second EP after we talked about their first on a [previous episode](https://see-saw.fun/punk-this-week-podcast-02-the-bug-club-kerosene-kream/)? Is Total Punk supergroup [Heavy Möther II](https://totalpunkrecords.bandcamp.com/album/s-t-lp-4?ref=see-saw.fun) greater than the sum of its parts? Can you dip popcorn into a dense tub of hummus? What’s the deal with the big [see/saw party in April](https://see-saw.fun/get-your-tickets-to-year-1-a-see-saw-party-in-minneapolis/)? Evan and Nina explore these questions and dive into new releases from [Smear Campaign](https://convulserecords.bandcamp.com/album/i-see-you?ref=see-saw.fun), [OUST](https://oustpunx.bandcamp.com/album/rather-be-a-fuck-up?ref=see-saw.fun), [Vale Vale Vale Vale Vale](https://nuevaepocarecords.bandcamp.com/album/piedra-papel-tijera?ref=see-saw.fun), and [sexykitten69](https://sexykitten69.bandcamp.com/album/demo?ref=see-saw.fun). Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.fun). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/seesawdotfun/?ref=see-saw.fun), [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun), and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). Have a question you’d like to hear addressed on the show? Email us: [see-saw@see-saw.fun](mailto:see-saw@see-saw.fun) *Punk This Week* is made possible by see/saw subscribers; please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-22-palo-alto-amor-muerte-y-leonora-2/#/portal/) if you enjoy this podcast. You’ll learn about way more punk records than we can pack into the podcast! ### get your tickets to year 1: a see/saw party in minneapolis URL: https://see-saw.fun/get-your-tickets-to-year-1-a-see-saw-party-in-minneapolis/ Last updated: 2025-03-14T19:00:12.000Z Hey, it’s Evan. I’m excited to announce that [tickets are on sale now](https://see-sawdotfun.myshopify.com/products/tickets-year-1-a-see-saw-party-on-april-5-in-minneapolis?ref=see-saw.fun) for **year 1: a see/saw party**. It’s a party I’m throwing to celebrate the first full year of my love letter to contemporary punk and rock'n'roll. It happens on Saturday, April 5 at Eagles No. 34 in Minneapolis. It’s a 21+ show where bands will play on two different stages. It’s incredible to be throwing a party featuring some of my favorite bands: Montreal garage rock party monsters **Th’ Retail Simps**, feral Hattiesburg rippers **Judy and the Jerks**, unhinged Minneapolis punks **Neo Neos**, Cincinnati art punk upstarts **Artificial Go**, the obliterating Detroit duo **208**, the underground hitmaker **Abi Ooze**, and an exceptional new band from the Twin Cities called **Panel**. A limited number of physical tickets are available at Extreme Noise Records in Minneapolis. I’m whipping up a program for the party and wanted to thank the following folks for kicking in a few bucks to appear in the program and help out with expenses: Feel It, Goner, Reverie, Outta Wax, Total Punk, Sorry State, Under the Gun, Francis Burger, 12XU, Drunken Sailor, K Records, Merge, and LOW LVL. [Grab tickets today](https://see-sawdotfun.myshopify.com/products/tickets-year-1-a-see-saw-party-on-april-5-in-minneapolis?ref=see-saw.fun). --- It promises to be a fun night, so grab your tickets now. Come hang with the punks at Eagles. *But that’s not all*, because I’ve got another couple parties planned: On March 29 at the beloved and brand new pizzeria [Leona’s](https://www.instagram.com/leonas%5Fpizza/?ref=see-saw.fun) in Eau Claire, catch the first-ever **see/saw punk rock pizza party**. There’ll be sets from **Citric Dummies**, **Heather the Jerk**, and **American Muscle**. Doors at 7pm, bands at 8pm; $15 in advance and $20 at the door. Ticket info coming soon; keep an eye on the see/saw Instagram. Then, on April 4 at Cloudland Theater in Minneapolis, it’s **a see/saw pre-party** with **Feeling Figures**, **Bermuda Squares**, **Answering Machines**, and **Yuasa-Exide**. This one’s 21+, doors at 7:30pm, bands at 8pm. It’s $15 at the door, $12 in advance. Flyer coming soon; again, keep an eye on the see/saw Instagram. --- The best thing about doing see/saw is feeling a sense of community from the greater punk scene around the world. It’s cool when it happens on the internet, but let’s bring it to some literal spaces and see some extremely good bands. Hope to see ya in six weeks. ### punk this week: rapid dye, heavy möther ii, split system + 19 more URL: https://see-saw.fun/punk-this-week-rapid-dye-heavy-mother-ii-split-system-2/ Last updated: 2025-02-14T20:57:04.000Z Welcome to [Punk This Week](https://see-saw.fun/punk-this-week-fentanyl-satanic-togas-7-more/), see/saw’s weekly deep dive into the latest and greatest punk and rock’n’roll records out there. It’s a Valentine’s Day flood of new records out, and that includes some genuine classics. Sydney hardcore greats Rapid Dye, the Total Punk supergroup Heavy Möther II, and Aussie garage punk heroes Split System lead this installment. As usual, there are some underground gems from digging around Bandcamp, stellar loosies, and previews from upcoming albums. Care to deep dive into some unbelievable punk records this week and every other week for that matter? Punk This Week is available to paid subscribers (and [those who barter](https://see-saw.fun/bartering/) their way across the paywall). Free subscribers still have access to weekly offerings including interviews, podcasts, playlists, and radio shows. [Please consider a subscription](https://see-saw.fun/#/portal/), free or paid, to help grow this reader-supported endeavor. Happy Valentine’s Day to all the punks. --- **Rapid Dye:** [***Rapid Dye***](https://rapiddye.bandcamp.com/album/rapid-dye?ref=see-saw.fun) **\[Cool Death/11PM\]** For around a decade now, Rapid Dye have established themselves as a must-see hardcore band in Sydney (and, you know, wherever they played). This is their debut album (nine songs in 10 minutes), and as their 57-second song argues, they truly are kings of punk, masters of hardcore. This is a relentless and blown out hardcore record with amazing hooks. The drummer’s approach feels suffocating for “On the Take,” just absolutely no room for air at all. The art is a black and white photo of a show, and that’s what this album conjures—wild and wildly loud music in a tiny room where everybody is shoving everybody. This is the good stuff. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/02/a2468928445_10.jpg)](https://rapiddye.bandcamp.com/album/rapid-dye?ref=see-saw.fun) --- _This post is for paying subscribers only._ ### punk this week podcast 22: palo alto + amor, muerte y leonora URL: https://see-saw.fun/punk-this-week-podcast-22-palo-alto-amor-muerte-y-leonora-2/ Last updated: 2025-02-11T13:02:16.000Z ![audio-thumbnail](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/media/2025/02/punk-this-week-22_mixdown_thumb.jpeg) punk this week 22: palo alto + amor, muerte y leonora 0:00 /3340.56 1× Punk This Week *is see/saw’s weekly podcast from co-hosts Evan Minsker and Nina Corcoran, breaking down the latest releases in the world of punk rock. Each episode highlights two records with brief discussions of an additional four.* We’re talkin’ about [savory ice creams](https://www.instagram.com/p/DFwAbPLsGg1/?img%5Findex=2&ref=see-saw.fun), the late Steve Albini, how much we [love beans](https://www.instagram.com/p/DAeX7QjSsJ-/?ref=see-saw.fun), and *the way music makes us feel*. It’s a very sentimental episode of *Punk This Week*, where Evan and Nina discuss their deep admiration for new records from New Zealand’s [Palo Alto](https://meltedicecream.bandcamp.com/album/in-broken-breath?ref=see-saw.fun); Spain’s [Amor, Muerte Y Leonora](https://punkvalleyrecords.bandcamp.com/album/black-pop?ref=see-saw.fun); Salt Lake City’s [PORQ](https://porqporqporq.bandcamp.com/album/beans?ref=see-saw.fun); Chicago’s [FACS](https://wearefacs.bandcamp.com/album/wish-defense?ref=see-saw.fun); Memphis’ [Snörkler](https://snorkler.bandcamp.com/album/sleven-slongs?ref=see-saw.fun); and Indonesia’s [Merowise](https://merowise.bandcamp.com/album/menuju-ruang-bebas-yang-tak-berarti?ref=see-saw.fun). Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.fun). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/seesawdotfun/?ref=see-saw.fun), [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun), and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). Email us!: [see-saw@see-saw.fun](mailto:see-saw@see-saw.fun) *Punk This Week* is made possible by see/saw subscribers; please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-21-oops-all-eps-2/#/portal/) if you enjoy this podcast. You’ll learn about way more punk records than we can pack into the podcast! ### s.o.h.’s kristine nevrose is a hardcore powerhouse, activist, and doctor URL: https://see-saw.fun/s-o-h-s-kristine-nevrose-is-a-hardcore-powerhouse-activist-and-honest-to-god-doctor/ Last updated: 2025-02-10T23:05:19.000Z Kristine Nevrose was jetlagged when we spoke in September, freshly home from a trip to Croatia. “I’m a big *Game of Thrones* dork,” she says, revealing that the show’s filming locations were a major reason for this particular vacation. “I was like, ‘I need to see the Red Keep! I need to see Littlefinger’s brothel!’” Not long after returning, she participated in a protest shouting “free free Palestine” in West L.A. It makes sense given the political anger inherent to the hardcore band she fronts, S.O.H. “This is not just some facade, like singing along to whatever. I use punk as power. Your voice, you’ve got to use that as your tool and your weapon.” Nevrose’s voice is undeniably a weapon in S.O.H.; she’s a wild and unpredictable presence, growling and snarling and howling alongside this massive, burly hardcore attack. Short for System of Hate, the band released their debut album [*Cost to Live*](https://sohsystemofhate.bandcamp.com/album/cost-to-live?ref=see-saw.fun) in September; it just got a new release from the always quality Indonesian hardcore tape label [the Seats of Piss](https://theseatsofpiss.bandcamp.com/?ref=see-saw.fun). The band previously released an EP in 2022, and Nevrose has been in punk bands for about a dozen years including Flaamingos and the Tissues. The new S.O.H. album is filled with songs that are pointedly anti-colonization and anti-complacency. “What’s your say in this revolution?/Wearing its name but no real action,” Nevros screams on “Generation.” Activism and music link arms in Nevrose’s life. She’s co-organized Punks for Palestine, throwing affordable all-ages shows, touting safe spaces and a spot to “bring your own meat”—a community punk DIY barbecue and protest. Early in the conversation, she asked how I was doing, and I mentioned that I’d been dealing with a headache that day. She encouraged me to drink a lot of water, and later, I learned that’s not just some common sense advice we should all be following—Nevrose is a doctor. She’s also an actress who’s starred in multiple short films. Out in Los Angeles, Nevrose lives so many lives. It just so happens that in one of them, she screams at wild crowds and makes pretty incredible hardcore records. (This conversation took place in September; events across the world and specifically in Los Angeles since then render this piece as something of a time capsule.) **When other artists use the aesthetics of punk as a vibe without digging into bigger picture real world shit that’s going on right now, do you see that as a wasted opportunity?** All the time, unfortunately. I feel like there's so much cooler shit that we can talk about. I mean, I get it, though. There's vibes. I can't look at a band and be like, “Oh, *wasted opportunity*,” it’s just like man, there's cooler things to talk about. There's bands that just want to talk about drugs, sex, rock’n’roll, and I totally get that. Sometimes we want that and that's cool, too. But I think we should really focus on keeping society focused on what's really going on because a lot of people are getting tired, I think. I've been going to protests again since the shit that happened and now the crowd’s dying down. **Your record really sounds like a band keeping its foot on the pedal of punk as activism. S.O.H. is really active right now; are you feeling a lot of energy for activism right now?** I do. When I came back from Croatia, we had a layover in Amsterdam, and I was like, “I have to fuckin’ see Anne Frank’s house.” I had to do so much research. I researched how Nazi Germany was doing all this shit in 1933 and fuckin’ the United States was over here like, “Oh, well they’re doing whatever they’re doing,” right? And they’d been doing this for fucking nine years until America was like, “Fine, we got bombed in Pearl Harbor, I guess we can join in.” It took how many years for us to watch all this shit happen? It just got me more mad to realize how many years is it going to be for us to figure out when we’re going to actually get involved and say fuck you, you know? **You mentioned you played in some post-punk and art punk bands, whereas S.O.H. is so much more aggressive and visceral. Do you prefer it?** I love it. I personally love it because it’s just rage and energy and fun. But I’m also in another band that’s more anarcho, post-punk, darkwave kind of shit. I love doing music. If I could sing blues, I'll do the blues, as long as I can really sing about heartache. **It seems in these S.O.H. songs that you inhabit multiple voices or characters throughout a track. Is that how you think about it?** Yeah, whenever I hear the songs, I’m like in a movie. For example, we have this song called “All Heart” where it starts off very slow, and I'm like, “Ooh, I'm in this trance of sadness,” and I want to give that genuine feeling instead of just like, “I gotta be tough 24/7.” We have elements of sadness too, where we can be sad but tough. **The lyrics across this album are so direct, but there’s one song I’d love to know more about since I don’t speak the language: “Walang Paglaya.”** The lyrics are in Tagalog. I’m Filipino, and it translates to “No Liberation.” This song gets me very deep in my presence because I grew up in a Filipino cult. It was a very deep religion that I'm even afraid to talk about because in the Philippines, if you get out of this religion you potentially can get murdered. **Jesus Christ.** Yeah, but I’m not afraid because fuck them. Anyway, I got out of it, my brothers barely got out of it when my dad passed away, so my dad kind of was the main source. But it's pretty much about religion, religious freedom, and…you know when you translate something it doesn't sound as deep as in English? There's a part which means “was it you that got chosen,” because in that religion, they're pretty much saying that everyone's going to go to hell besides us. I've lived that life of guilt for all my life ever since I was like 18, thinking, “Man, if I get out of this religion, I'm going to hell.” I just wanted to write that song about being free from generational forced religion. **When you write something like that, a song that’s deeply personal and about your experience, do you think about how it would connect with somebody else who’s similarly dealing with this intense religious weight bearing down on them?** Yeah, I wrote it specifically for those people because I know how scary it is. It's still scary for most people, like I have a French teacher. She’s Muslim and she talks about how she wants to have a dog and she can't because the dog saliva is haram, right? So it's just little things like that where I just wish I could say, “It's OK.” The weight of guilt people have, it's crazy to me how there's these rules and you can never just get out of those, even a little bit. **What’s something you want to accomplish with S.O.H. that you haven’t had the chance to do yet?** I want to play as many shows outside of our hometown. I'm like cool, we played L.A., we’re good to go. But I want other people to experience like our lifestyle and what we’re about. We just toured Mexico City, we toured the East Coast, we're on our way to Japan next week, and I can't believe it. I can't believe other places want to hear us, are asking for us. It’s crazy, like we don't even have an Instagram. We try to be as DIY as possible, like how back in the day people would talk about how bands were cool and found out through word of mouth instead of like, “Here's a poster, and here's an Instagram of us, look how cool we are with all our followers.” We don't want that. We want y'all to genuinely listen to our album and like us for who we are. We just wanted it to be more like if you know, you know, and if you like fuck with us, you fuck with us, and that's it. We don't really care about being popular. **I’d love to know more about the scene out there right now.** I mean, we make our own scene. In my brain, I feel like we have our own scene. I don’t think there’s just one scene, because L.A. is such a huge place. Me and this girl named Juju, we have our own little thing. We created Punks for Palestine in Los Angeles. We've been doing a lot more community fundraising. We don't do shows for more than $10\. We give it back. We're starting this new thing called BYOM, which is really fucking dorky, but it means bring your own meat. And we bring a grill to the shows and everyone just grills shit. We eat stuff and we just share within the community. That's my goal is to just literally have very cheap shows, feed everybody, and have a good time. No drugs. That’s my goal. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/02/a0225524962_10.jpg)](https://sohsystemofhate.bandcamp.com/album/cost-to-live?ref=see-saw.fun) **No drugs on the straight edge tip?** I mean I smoke weed here and there, I’m not saying you should be straight edge or anything. But if we want to have an all-ages community where I want younger people to listen to our music and look up to us, I don’t want to have people being like, “Oh I was so drunk, sorry if I talked to that girl who was 17.” You know what I mean? My dream is to have a genuinely safe community. **With so much going on, what do you think people out there who might be unfamiliar with your work should focus on first?** Maybe I’m being a narcissist or something, but I wish people would look at our record and actually read my lyrics. That’s where my heart is. Some people are like, “Oh, this song’s cool but I don’t really know what they’re saying.” I want people to read. I write poetry and I love books. I’m a big book nerd, too. I want people to know that we’re also intelligent. People look at us and they’re probably like, “You’re not that smart,” and I have to show them that I’m an actual doctor in real life. **Wait, you’re an actual doctor in real life?** I’m a health care provider. I have my doctorate in pulmonology. I try not to talk about it online or anything because I hate mixing it because it doesn’t match. When I’m at my profession and they’re like, “What’s up with your tattoos?” And I’m like, “Ahhh, why do I gotta talk about my tattoos when I’m trying to order a chest x-ray for my patient?” **OK, so you’re a different level of busy. Where do you find yourself writing poems and songs?** Everywhere. I work from home and then i visit my patients, but sometimes, I'll be driving and I’m like, “Oh shit, I want to write this piece.” I had a patient recently—he had a Bart Simpson tattoo. He's probably in his 20s and he’s vegetative. I’ve never had a conversation with this man for a year. Out of nowhere last week he’s like, “EY!” I'm like, “*What?*” And he's like, “How are you?” He’s trying to articulate and I’m like, “Do you know who I am?” And he’s like, “Yeah.” Sometimes I play *Simpsons* music in the background so I can be like *hey I’m here*. When I was driving, I’m like you know what, I’m gonna write about how beautiful our access to health is—how lucky we are to breathe on our own and talk on our own and walk on our own. **Between that story, your career in general, and the BYOM community-oriented Punks for Palestine stuff, it seems like you’re often thinking about other people.** I try to. I mean, it's my culture too. I’m Filipino and that's how we were raised. I remember when I was young, I couldn’t fathom or understand TV dinners because I'm like, but how are we going to share? In Filipino culture, that never existed. It’s always a meal that’s shared, so that’s always been my foundation. --- *see/saw is a reader-supported publication. If you enjoyed this interview, please consider a free or paid (or* [*bartered*](https://see-saw.fun/bartering/)*)* [*subscription*](https://see-saw.fun/#/portal/)*.* ### punk this week: piston, amor muerte y leonora, positive thinking + 11 more URL: https://see-saw.fun/punk-this-week-piston-amor-muerte-y-leonora-positive-thinking-11-more/ Last updated: 2025-02-07T17:58:30.000Z Welcome to [Punk This Week](https://see-saw.fun/punk-this-week-fentanyl-satanic-togas-7-more/), see/saw’s weekly deep dive into the latest and greatest punk and rock’n’roll records out there. February kicks off with an outstanding pile of records ranging from the righteousness of Piston and Positive Thinking, the garage punk goof-around of PORQ, some feral vocals from Brown Eyed Girl and Snörkler, and so much more. Don’t miss out on some genuinely special records made from artists toiling in the punk rock underground all over the planet. Punk This Week is available to paid subscribers (and [those who barter](https://see-saw.fun/bartering/) their way across the paywall). Free subscribers still have access to weekly offerings including interviews, podcasts, playlists, and radio shows. [Please consider a subscription](https://see-saw.fun/punk-this-week-jacket-burner-intermission-plastic-act-13-more/#/portal/), free or paid, to help grow this reader-supported endeavor. --- **Piston:** [***Capital Crime***](https://dynasticyellowstarlabel.bandcamp.com/album/capital-crime?ref=see-saw.fun) **\[Dynastic Yellow Star Label\]** In the times we find ourselves in, it’s important to tell Nazis and fascists to fuck off. The Tallahassee band Piston comes through with that message over and over again with the pummeling Oi! of their new record *Capital Crime*. On the title track, they pick up a “coward and creep” by his armpits and parade him through the streets to make the world witness his shame. “You trampled innocents/preying on the meek/turned daughters into survivors,” they scream over this barreling, thundering hardcore record. They’re more specific on “Bonehead Pose,” naming the “Nazi coward” racists as guttural gang vocals form a circle around these stupid and hateful motherfuckers. At a time when the two-party system has completely buckled and the “left” has decided to play nice with fascists, rhetoric in art *and* real life should have as much backbone as this Piston lyric sheet. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/02/a1422841048_10.jpg) --- _This post is for paying subscribers only._ ### punk this week podcast 21: oops! all EPs URL: https://see-saw.fun/punk-this-week-podcast-21-oops-all-eps-2/ Last updated: 2025-02-04T18:27:17.000Z ![audio-thumbnail](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/media/2025/02/punk-this-week-21_mixdown-8ea6c3f4895f0104_thumb-f0682c2998f2a0b4.jpeg) punk this week 21: oops! all EPs 0:00 /2174.352 1× Punk This Week *is see/saw’s weekly podcast from co-hosts Evan Minsker and Nina Corcoran, breaking down the latest releases in the world of punk rock. Each episode highlights two records with brief discussions of an additional four.* The pod is drinking age, so we don’t have time for full-length records!! OK actually, without meaning to, we only brought EPs this week. It’s a zippy new ep discussing new ones from [Isabella Strange](https://isabellastrange.bandcamp.com/album/slick-git?ref=see-saw.fun), [Wetnap](https://wetnap-band.bandcamp.com/album/-?ref=see-saw.fun), [Birch Beer](https://birchbeer.bandcamp.com/album/in-your-head?ref=see-saw.fun), [Fast Johnny & the Slow Burners](https://fastjohnnyandtheslowburners.bandcamp.com/album/ep?ref=see-saw.fun), [GRUNTWORK](https://gruntwork1.bandcamp.com/album/violence-in-the-workplace?ref=see-saw.fun), and [Sick Fucks](https://big-s.bandcamp.com/album/pure-thrill?ref=see-saw.fun). Notorious Chicago yard bunny Jeff makes a cameo to offer his blessing. Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.fun). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/seesawdotfun/?ref=see-saw.fun), [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun), and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). *Punk This Week* is made possible by see/saw subscribers; please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-20-ty-today-station/#/portal/) if you enjoy this podcast and tell one friend about us. You’ll learn about way more punk records than we can pack into the podcast! ### playlist: the best punk songs of january 2025 URL: https://see-saw.fun/playlist-the-best-punk-songs-of-january-2025/ Last updated: 2025-02-03T17:07:17.000Z Amid the chaos that the beginning of this year continues to provide, new punk music still shows up pretty much every day. On a slow day, somebody in the [see/saw Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun) shares an old record I’ve never heard and it blows my ass completely off. (This is a joke, I have never had an ass.) Rich started the [Total Punk forum](https://forums.totalpunkrecords.com/?ref=see-saw.fun) while local scenes build online message and gig boards of their own. People with shared interests are reconnecting and steadily eyeballing just how gross it feels to use Instagram to promote and connect. Some people feel like they rely on it to find community, and that’s how I feel. I’m keeping it around, but I rarely linger on Instagram at this point. It exists on my phone as this holdover from breaking news life; I scan it for information and otherwise just feel disgusting when I leave the app open for any substantial amount of time. The Discord, meanwhile, has been the spot. There was a boom of new folks who joined around when Groschi started the [spreadsheet](https://docs.google.com/spreadsheets/d/e/2PACX-1vTCtZS6WiirCgBsJpDxtxceUMnM1V8E5hmB-Wg1DfZSJtAXQvUcXDSsY8cs6Y1jhhoynuKOXkGDQtjw/pubhtml?ref=see-saw.fun) cataloguing all the bands with piss names. People are in there talking about gear and pets, sharing demos and works-in-progress. I’m making new friends and deepening existing friendships in there. On New Year’s Day, I did a past/present/future tarot reading, and for future, I pulled the three of cups. I don’t know shit about tarot, but from what I was made to understand by my people who know more about these things, it’s a card that signifies community, celebration, friendships, collaboration, and creativity. Having the Discord light up has felt good. Unwittingly, it’s become part of this greater push to establish punk and DIY community spaces online that aren’t dictated by the aristocracy (though it’s worth couching here that I don’t know shit about Rigdon Discord or whoever founded this chatroom app, they could suck shit for all I know). It’s also just fun to talk to people who I respect a lot and who like the good stuff. I’m having fun lurking over on Rich’s URL, too. Community, friendships, cleaving to your people—that’s what it takes in times of upheaval. Mid-January marked a year after being laid off from my job of a dozen years, plus the horror of the fires and the grim reality of the inauguration. I’m trying to ride through the tumult. Over the winter break, I listened to Cher’s memoir on audiobook. (It fucking rules. Also, fuck Sonny Bono.) There’s this point in the book where you’ve learned about her chaotic/adrift early childhood and teen years, and you’re like, “When is she going to ever get to chill out?” Literally a page later, she meets Phil Spector. Soon enough she’s living in a mansion and Sonny, deep into a pills bender, is doing an anti-marijuana PSA in gold silk pajamas. Anyway, there’s this part of the book where Cher is isolated from society (long story), but then she finally leaves her room and goes to hang out with the people in her band. That’s when her life starts to get less heavy. I guess what I took away from Cher’s tutelage and *the cards* is that you can’t fully stop upheaval, but community makes it all feel less punishing. That’s probably the most obvious shit anybody’s ever heard, but I’ve been thinking a lot about why it’s important to reach out to your community. There’s a see/saw benefit compilation coming soon, I’m finishing up the last tapes for see/saw Walkman Club, the Punk This Week podcast is seriously feeling more fun than ever, and the see/saw year 1 festivities are coming together. It’s a bunch of varied and ambitious collaborative projects. So that’s the plan right now; I’m proverbially leaving my room to go hang out with the band. Three of cups. [**the best punk songs of january 2025**](https://bndcmpr.co/eca2ed6d?ref=see-saw.fun) ELVIS 2: Grub Club Fast Johnny and the Slow Burners: Ain’t Slowin’ Down Plastic Act: Everywhere I Go Jacket Burner: Cold Leather TY: Nematode Sick Fucks: Sex Afterparty KLINT: Water Vapor Vermit: Conqueror Verm Punter: Bone to Pick GHOULIES: Towel King Sooflays: Carve Your Feelings Into Me SLOKS: Viper KOWBOJE: ELVIS-HENDRIX Intermission: Ball N Chain Whelpwisher: Same Mistakes Wetnap: Mortality Embargo: A-B-C ALARM Dorothy Fuzz: 123 Understand Me Kostenvorschlag: RE7 Dru the Drifter: Sold My Soul for Rock and Roll Rapid Dye: Penance Skull Cult: Language Meow Meow and the Smackouts: An Decent Punch Day Residue: Nod If You Know Monda: Poe’s Law FKA Smiley: Thresher Midgee: Rock and/or Roll GPS: Earn My Life Erik Nervous: Kill the Kool (The Spits cover) Clean Needle: Brain in a Blender Razorface: Tarnished Waylon Thornton: Smash Mountain Cheer Huevo: No me siente bien Telesatan: Cut 'n' Slice Saafewaay: Bag Tax Can Kicker: Cariad STDEES: Steroid Dojo Sad Roach: Gobblin Your Pest Band: Reappear Pigeon Pit: Bad Advice Today Station: Wirecutter SEER: My Eyes Eskupa: Nexos Crayon Cats: October Girlfriend OYO: OO Lackey: Bambam Cult Crime: Desperation Ain’t Right: Concrete Hearts First in Line: Rebel Heart Die in Vain: Savage New Times Molbo: Sytsmart Power Pants: Fast Lane Delivery: Deadlines Liaam: Sole to Sole Ex-Vöid: Pinhead Shit Missile: No Soul 1186: Ataque Sistematico Spleen: Albatros Seat Pisser: Hunt Raut: Love ME Do Healing: Sand Talk Public Assassination: Light Escapes Obedient: Bitter Man Stray Dogs to Good Homes: Grid City Beetle Kill: SHITWOLF Wesley & the Boys: Full-Time Asshole Astio: Bianco Oblio GNATS: GNATS! Lambrini Girls: Company Culture Crime Light: World Burns Back Snarewaves: Stimmy Lunch Heavy Mother II: Omnivore Gnome: I Like It Heet Deth: King of Swords Small Portions: I’m a Manchild Ismatic Guru: Eighteen Miles Long Sharp Pins: I Can’t Stop Good Flying Birds: Last Straw The Artists: Dancer The Hahas and the Blablas: Frowning rat and his sad destiny Nick Cage: Swing State Kristian Quint & the Quitters: Outer Drive Disappearamces: Collapse Seudo Youth: Big Mouth Silo Kids: Sick Licks ### punk this week: jacket burner, intermission, plastic act + 13 more URL: https://see-saw.fun/punk-this-week-jacket-burner-intermission-plastic-act-13-more/ Last updated: 2025-01-31T18:14:49.000Z Welcome to [Punk This Week](https://see-saw.fun/punk-this-week-fentanyl-satanic-togas-7-more/), see/saw’s weekly column exploring the latest and greatest punk and rock’n’roll records. Listen, this week there’s some very sick stuff at the top of the column as usual, including the latest Goodbye Boozy singles and some exceptional EPs and demos from around the world. The real gold, honestly, is in the “what else” section at the very end of this piece—some unbelievable songs from upcoming records that’ll get discussed in full when they’re finally out. To unearth the secrets down at this column’s depths, go ahead and subscribe to see/saw! Punk This Week is available to paid subscribers (and [those who barter](https://see-saw.fun/bartering/) their way across the paywall). Free subscribers still have access to weekly offerings including interviews, podcasts, playlists, and radio shows. [Please consider a subscription](https://see-saw.fun/punk-this-week-ty-day-residue-skull-cult-monda-15-more/#/portal/), free or paid, to help grow this reader-supported endeavor. --- **Jacket Burner:** [***Tonite***](https://goodbyeboozydigital.bandcamp.com/album/tonite?ref=see-saw.fun) **\[Goodbye Boozy\]** Jacket Burner has yet to receive his due. Over the past year, the New Mexico gutter rocker has put out a pretty substantial pile of budget punk that feels akin to the works of Buck Biloxi or the Spits. This new 7” on Goodbye Boozy feels like the project’s most iconic release; the art goes a long way toward locking in that distinction. “Cold Leather” feels pretty classic on its own, then the next track he’s all like “exterminate mortal scum.” That’s punk rock, baby. Give this dirtbag his flowers. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/01/a2013773350_10.jpg)](https://goodbyeboozydigital.bandcamp.com/album/tonite?ref=see-saw.fun) --- _This post is for paying subscribers only._ ### punk this week podcast 20: ty + today station URL: https://see-saw.fun/punk-this-week-podcast-20-ty-today-station/ Last updated: 2025-01-28T14:30:39.000Z ![audio-thumbnail](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/media/2025/01/punk-this-week-20_mixdown_thumb.jpeg) punk this week 20: ty + today station 0:00 /3260.904 1× Punk This Week *is see/saw’s weekly podcast from co-hosts Evan Minsker and Nina Corcoran, breaking down the latest releases in the world of punk rock. Each episode highlights two records with brief discussions of an additional four.* In the twentieth episode of the pod, Evan reps two records from Detroit—by [TY](https://painterstapes.bandcamp.com/album/we-r-ty?ref=see-saw.fun) and [see/saw favorites](https://see-saw.fun/day-residue-are-frustrated-meticulous-punks-from-detroit/) [Day Residue](https://dayresidue0.bandcamp.com/album/i-love-what-youve-done-with-the-place?ref=see-saw.fun)—and gets hype about [Skull Cult](https://utgrecords.bandcamp.com/album/can-you-see-what-i-mean?ref=see-saw.fun)’s cat photo. Nina unearths the new [Today Station](https://todaystation.bandcamp.com/album/almost-everything?ref=see-saw.fun), discusses the new [DITZ](https://ditzband.bandcamp.com/album/never-exhale?ref=see-saw.fun) and [Eskupa](https://eskupatupa.bandcamp.com/album/ya-no-queda-nada?ref=see-saw.fun), and astonishes the listener with a bloody tale from the pit. Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.fun). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/seesawdotfun/?ref=see-saw.fun), [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun), and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). *Punk This Week* is made possible by see/saw subscribers; please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-19-pigeon-pit-molbo/#/portal/) if you enjoy this podcast and tell one friend about us. ### punk this week: ty, day residue, skull cult, monda + 15 more URL: https://see-saw.fun/punk-this-week-ty-day-residue-skull-cult-monda-15-more/ Last updated: 2025-02-03T15:10:20.000Z Welcome to [Punk This Week](https://see-saw.fun/punk-this-week-fentanyl-satanic-togas-7-more/), see/saw’s weekly column exploring the latest and greatest punk and rock’n’roll records. Led by new releases from two of the best bands in Detroit right now in TY and Day Residue, this week’s biggie size column is a deep grease-stained bag of treats including some unearthed Subculture, a great new one from the deeply prolific Monda, an excellent new Philly hardcore record, the new Charm School and FKA Smiley albums, and so much more. With so much incredible underground rock’n’roll to read about, it’s another perfect week to subscribe to see/saw! Punk This Week is available to paid subscribers (and [those who barter](https://see-saw.fun/bartering/) their way across the paywall). Free subscribers still have access to weekly offerings including interviews, podcasts, playlists, and radio shows. [Please consider a subscription](https://see-saw.fun/punk-this-week-liaam-molbo-power-pants-delivery-10-more/#/portal/), free or paid, to help grow this reader-supported endeavor. --- **TY:** [***WE R TY***](https://painterstapes.bandcamp.com/album/we-r-ty?ref=see-saw.fun) **\[Painters Tapes\]** On Halloween, TY’s stomping and elemental punk single “Devil Tattoo” scorched the earth upon impact. Their debut tape *WE R TY* capitalizes on that track’s promise. This Detroit band featuring members of Fen Fen and H8 Mile make meatheaded egg punk; just listen to that combination of gruff dude vocals and nimble guitars on “Choked Up.” Their dirtbag patriotism on the jagged and grimy rock’n’roll track “USA” lands like puke splattering across a sidewalk outside a bar; a familiar brand of flag waving raw sewage roq from the D. “Oh No” is classic ’70s power pop at 1.5x speed and 1.5x burliness. Right when you think you’ve heard them at their fastest, they scream and sprint through the minute-long banger “Nematode.” There’s never a dull moment, with multiple songs jockeying for position as “the one.” They strike this excellent balance between sloppy and precise: a bookworm doing a keg stand, a revered painter shotgunning a can of Monster, a Beard Award semifinalist chef microwaving a Powerman 5000 CD. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/01/a0617856456_10.jpg)](https://painterstapes.bandcamp.com/album/we-r-ty?ref=see-saw.fun) _This post is for paying subscribers only._ ### punk this week podcast 19: pigeon pit + molbo URL: https://see-saw.fun/punk-this-week-podcast-19-pigeon-pit-molbo/ Last updated: 2025-01-21T15:23:02.000Z ![audio-thumbnail](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/media/2025/01/punk-this-week19_mixdown_thumb.jpeg) punk this week 19: pigeon pit + molbo 0:00 /3182.856 1× Punk This Week *is see/saw’s weekly podcast from co-hosts Evan Minsker and Nina Corcoran, breaking down the latest releases in the world of punk rock. Each episode highlights two records with brief discussions of an additional four.* Headlined by new records from [Pigeon Pit](https://pigeonpit.bandcamp.com/track/bad-advice?ref=see-saw.fun) and [Molbo](https://erstetheketontraeger.bandcamp.com/album/ett-121-molbo-s-t-lp?ref=see-saw.fun), this episode follows the cliffhanger: Will listeners send in a bumper? Do Evan and Nina face disappointment once again? Tune in and find out! This episode also features discussions of the new records from [Delivery](https://deliveryband.bandcamp.com/album/force-majeure?ref=see-saw.fun), [Liaam](https://liaam.bandcamp.com/album/dancing-with-my-clothes-on?ref=see-saw.fun), [Ex-Vöid](https://ex-void.bandcamp.com/album/in-love-again?ref=see-saw.fun), and [Shit Missile](https://rivertrashrecords.bandcamp.com/album/shit-missile?ref=see-saw.fun). Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.fun). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/seesawdotfun/?ref=see-saw.fun), [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun), and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). *Punk This Week* is made possible by see/saw subscribers; please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-18-lambrini-girls-crime-light/#/portal/) if you enjoy this podcast and tell one friend about us. ### punk this week: liaam, molbo, power pants, delivery + 10 more URL: https://see-saw.fun/punk-this-week-liaam-molbo-power-pants-delivery-10-more/ Last updated: 2025-01-17T16:10:40.000Z Welcome to [Punk This Week](https://see-saw.fun/punk-this-week-fentanyl-satanic-togas-7-more/), see/saw’s weekly column exploring the latest and greatest punk and rock’n’roll records. It’s an incredible week for new punk records and the sickos who love them. There’s a standout tape from Cincinnati’s Liam Shaw, a remarkable album from Oslo’s Molbo, plus new stuff from Power Pants, a wide array of sick Australian bands, two exceptional new releases from RoachLeg Records, and so much more. With a big pile of great new rock'n'roll music to dig through, it’s a great week to subscribe to see/saw! Punk This Week is available to paid subscribers (and [those who barter](https://see-saw.fun/bartering/) their way across the paywall). Free subscribers still have access to interviews, podcasts, playlists, radio shows, and other weekly posts. [Please consider a subscription](https://see-saw.fun/punk-this-week-lambrini-girls-crime-light-ismatic-guru-10-more/#/portal/), free or paid, to help grow this reader-supported endeavor. RIP David Lynch. --- **Liaam:** [***Dancing With My Clothes On***](https://liaam.bandcamp.com/album/dancing-with-my-clothes-on?ref=see-saw.fun) **\[self-released\]** Last summer, I wanted to sit down with the Cincinnati punks to get a sense of what was going on down there. How are so many sick records coming out of that scene? This tape from Liaam, aka Liam Shaw from the band Choncy, is kind of a perfect piece of evidence. It’s a homespun bedroom side project that sounds like one person trying to conjure vibrant and camp-adjacent rock’n’roll music with a loud guitar, a drum machine, and a fuck ton of gumption. It’s a charming and low budget party rock’n’roll record sung fully deadpan. Angie Willcutt of Artificial Go provided the artwork here, one of Shaw’s many friends making art and throwing shows. This very sick collection is a missive from the Nati’s punk rock wellspring, which feels self-perpetuating and boundless right now. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/01/a3025461208_10.jpg)](https://liaam.bandcamp.com/album/dancing-with-my-clothes-on?ref=see-saw.fun) _This post is for paying subscribers only._ ### punk this week podcast 18: lambrini girls + crime light URL: https://see-saw.fun/punk-this-week-podcast-18-lambrini-girls-crime-light/ Last updated: 2025-01-14T16:34:54.000Z ![audio-thumbnail](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/media/2025/01/punk-this-week-18_mixdown_thumb.jpeg) punk this week 18: lambrini girls + crime light 0:00 /3002.28 1× Punk This Week *is see/saw’s weekly podcast from co-hosts Evan Minsker and Nina Corcoran, breaking down the latest releases in the world of punk rock. Each episode highlights two records with brief discussions of an additional four.* One of the biggest punk releases in recent months is [Lambrini Girls](https://lambrinigirlsband.bandcamp.com/album/who-let-the-dogs-out?ref=see-saw.fun)’ *Who Let the Dogs Out?*, and the hosts of *Punk This Week* are here to say what they think. There’s also new records from [Crime Light](https://delayedgratificationrecords.bandcamp.com/album/crime-light?ref=see-saw.fun), [Snarewaves](https://painterstapes.bandcamp.com/album/snarewaves?ref=see-saw.fun), [Gnome](https://goblinrecordsaus.bandcamp.com/album/i-like-it-ep?ref=see-saw.fun), [Heet Deth](https://heetdeth.bandcamp.com/album/bad-reading?ref=see-saw.fun), and [Small Portions](https://jamiroquai.bandcamp.com/album/demonstrate?ref=see-saw.fun). Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.fun). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/seesawdotfun/?ref=see-saw.fun), [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun), and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). *Punk This Week* is made possible by see/saw subscribers; please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-17-ghoulies-disappearances/#/portal/) if you enjoy this podcast and tell one friend about us. ### the postmodern punk of powerwasher URL: https://see-saw.fun/the-postmodern-punk-of-powerwasher/ Last updated: 2025-01-13T16:07:19.000Z Dressed in [matching pink boiler suits](https://www.instagram.com/p/DDFBPfyxyDV/?img%5Findex=1&ref=see-saw.fun), Powerwasher resemble a gang of escaped art school vigilantes at their [first live shows](https://www.youtube.com/watch?v=luWS5TaYu0k&ref=see-saw.fun) back in 2022\. Taking center stage, lead vocalist Tiger reinvents his delivery on every song, casually rattling off lines like a ’90s club comic at one moment; thrashing around, all high-knees and hair in the next; and later, sitting cross-legged like a youth pastor delivering some hard-earned wisdom. The band’s energy is, in short, difficult to pin down, a mix of Americana’s nostalgia, no wave’s nihilism, punk’s outlandishness, and post-hardcore’s fury. “We are always the weird one on the bill,” guitarist Eli summarized, speaking about the band’s place within their home scene in Baltimore over Zoom. “We play the punk bills and we're the weirdo soft band, or we play the indie rock bills and we're the weirdo way too hard band.” Even as the odd men out, the four members of Powerwasher are happy to be playing together at all: They tracked their first EP, 2020’s *The Power of Positive Washing*, just before the COVID-19 lockdown, and didn’t get the chance to perform together as a band until two years later. "I was not sure we were ever going to play shows,” Spencer, the band’s drummer, recalled. But the pandemic’s pause gave the band more time to focus on their 2024 debut full-length, [*Everyone Laughs*](https://powerwasher.bandcamp.com/album/everyone-laughs?ref=see-saw.fun), which they began writing in 2020\. The record won’t get them any further from their “weirdo” status—[there’s pedal steel played by Wednesday’s Xandy Chelmis](https://powerwasher.bandcamp.com/track/stoned?ref=see-saw.fun), [guitars that dart between riffs](https://powerwasher.bandcamp.com/track/tm-31-210?ref=see-saw.fun) as if they’re about to self-destruct, and [lyrics about microwaving hard drives](https://powerwasher.bandcamp.com/track/landscape-abstract?ref=see-saw.fun)—but it feels like a fitting introduction for perhaps the only rock band to cite the French writer Georges Bataille and Long Island post-hardcore legends Glassjaw in the same interview. Powerwasher decorate their lyrics with the prefab shorthands of the anthropocene— “a five-piece bedroom set,” “LiveLeak streams in 1080p,” dreaming about a “home on the range” but settling for “contact sports.” On the album’s cover, painted by artist [Matthew Reed](https://www.tvbeaches.com/?ref=see-saw.fun) (whose work you might recognize from MJ Lenderman’s *Manning Fireworks*), we see a fading empire in the form of a man who appears to be quite literally [bowling alone](http://bowlingalone.com/?ref=see-saw.fun). Speaking from their individual boxes on Zoom, Eli, Spencer, Tiger, and bassist Kendall seemed especially eager to collaborate in person for a new album hopefully arriving at some point in 2025—“adult stuff” is getting in the way of “devoting our lives entirely to punk rock,” Eli lamented. But perhaps that’s just more fuel for their forthcoming record: The contrast between the soul-crushing tedium of an “email job” and the exuberance of playing in a band seems like the perfect topic for a Powerwasher song. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/01/a1838887717_10.jpg)](https://powerwasher.bandcamp.com/album/everyone-laughs?ref=see-saw.fun) Powerwasher’s **Everyone Laughs* album artwork by Matthew Reed **How did Powerwasher start?** Eli: Me and Kendall used to play in a different band together, where I played drums and he played bass. My now fiancé, then girlfriend and her very good friend, who was Spencer's girlfriend at the time, set us up on a boyfriend playdate, and we started jamming like that. I asked Kendall to come in and play bass, and then we met Tiger on Craigslist. **What did the Craigslist ad say?** Eli: It was something like, “If you want to play in a band that sounds like Palm, hit us up.” Spencer: I remember Tiger sent an EP from his band in Atlanta, and I was like, “We need this guy.” Tiger: I didn’t know you listened to it! Kendall: Tiger only briefly lived in Baltimore, so he got everything recorded and then he moved back to Atlanta. Tiger: It was Atlanta first, and then Wisconsin, and then New York. I’ve been bouncing all over the place. Fortunately, I’m within driving distance of Baltimore now, which makes playing shows a lot more convenient. **You released your first record,** [***The Power of Positive Washing***](https://powerwasher.bandcamp.com/album/the-power-of-positive-washing?ref=see-saw.fun)**, in Baltimore in the peak of the pandemic. How did that impact you all as a band just starting out?** Kendall: We hadn’t played any shows when the EP came out. We didn’t even play our first show until two years ago. Spencer: We said, “Let’s record this EP first, and then we’ll send it around and it’ll be easier to book shows.” Eli: I remember we got an email from Nicolo from Sad Cactus, where he said, “Yeah, let’s shoot to put out the EP in August \[2020\], because then people will be touring again.” Kendall: Some of [*Everyone Laughs*](https://powerwasher.bandcamp.com/album/everyone-laughs?ref=see-saw.fun) was written before COVID started, and we were planning on recording the EP, and then the lockdown started and just stretched everything out. Eli: I think it made the record better to have that much time to sit with it and think about the songs. Some of the stuff we had written before the pandemic ended up getting totally chopped up and thrown into different songs. It came out the other end very different than it would have if we had just cruised on through and recorded like we were supposed to. **What were your goals for *Everyone Laughs*? How did you approach it differently than your first EP?** Eli: I think our first EP was a happy accident and really spontaneous. Two of the songs were not even a third of the way written before tracking day. Spencer: Eli and I recorded drums and guitar live together, and we had enough time, so I was like, “Let’s just try to get these songs in.” I think there were two songs that Kendall and Tiger had never heard before, and we tracked them. Eli: One way we approached the full length differently was just taking our time with it, being more intentional, focusing on the songwriting more. Not doing it as fly by night. Tiger: We're definitely a lot younger too. We recorded that EP when I was straight out of college. I was playing music with other guys in Atlanta and had a project fall apart, which is a very good learning experience. I feel like seeing a project not come to fruition makes you approach your future endeavors a lot differently. Kendall: I remember one of the things that came up when we were working on the album is that it sounded like a band that was influenced by the first EP, and that's something I think we started to lean into a little bit as we kept writing songs. Eli: Yeah, like, what if there was a band whose favorite band was the band from the last record, but was not the same band. **Like they put out a Craigslist ad looking for musicians who love Powerwasher?** Spencer: A Powerwasher tribute band. Tiger: Being older, I think we are more restrained. We don't have to do one measure of this bar of 17, and then go to a bar of nine. We know we *can* do it. So we can play a song that's more withheld, although, at the end of the day, we are still the same musicians. **Do you all contribute lyrics for the band, or is there one person who's writing the lion’s share?** Tiger: Lyric-wise, I think it’s mostly Eli and I. But we try to keep things super democratic. We try not to get too pigeonholed and be the only ones with writing responsibility. Eli: The lyric writing process tends to be that on the day that we track vocals, me and Tiger sit down with a notepad, and he has a Notes app note full of phrases that he's written down since the last time we recorded vocals. We try to piece those together into a workable stream of consciousness that hopefully means a lot to people. **Are there particular writing methods that you use, or writers that inspire you?** Tiger: That depends on the project. I'm not really good at reading prose or fiction. I mostly just read critical theory in my free time, which doesn't really translate to coming up with the most artistic lyrics, per se. Writing lyrics is difficult because there's a balance to strike between saying too much and saying too little, or saying something trite. One of the things that turns me off from other bands the fastest is hearing something super cliché. Finding the right balance of something that resonates with other people but hasn't been said a million times, maybe more skilled writers would say that’s easy, but to me, I find it particularly difficult. **Are there any critical theorists in particular who inspire your lyrics?** Tiger: This is not technically critical theory, but I dug pretty deep into \[Georges\] Bataille for this forthcoming EP we recorded recently. It’s our Bataille and [*Mishima*](https://www.criterion.com/films/588-mishima-a-life-in-four-chapters?ref=see-saw.fun) record. Spencer: Bataille wrote [*The Story of the Eye*](https://www.totuusradio.fi/wordpress/wp-content/uploads/2010/09/bataille%5Fstory%5Fof%5Feye.pdf?ref=see-saw.fun), right? Tiger: You guys were making fun of me! We were playing at a beach bar in New Jersey, in Belmar or something, and I was trying to get my reading in. They were like, *Tiger, you can't read* Story of the Eye *in public like this!* Eli: Well, to be fair, there were mostly leathery, middle aged people drinking margaritas and buckets of beer around us. It just felt inappropriate. **Your song “Same Time/ Same Channel” is a biting critique of influencer culture. There are also a lot of obscene references that now seem connected to Bataille. I was curious what you were thinking specifically when you were writing that song.** Tiger: I actually just read [*Immediacy, or The Style of Too Late Capitalism*](https://www.versobooks.com/products/3031-immediacy-or-the-style-of-too-late-capitalism?ref=see-saw.fun) by Anna Kornbluh. And I was like, *Damn, I wish I had known this book existed when I was writing that song*. It probably would have been easier to just copy from her work. We recorded that in 2021, during lockdown. That was definitely the apex of everything just being content. We were taking in all of reality through this very mediated form of cultural production, and that has a depersonalizing effect. One of the things that Eli and I have talked a lot about while we’re writing lyrics is that everything is on one social media feed: News of 300 victims of a landslide in Bangladesh, your cousin having their first kid, and this petition you should sign, they all become squashed into one monolith of dopamine-rewarding content consumption. So I guess that was the idea for that. That was definitely the “we’re at home, taking the world through social media lockdown” song. **Then you have a song like “Stoned,” which is much slower; you’ve got Xandy Chelmis on the pedal steel. What was the writing process like for that?** Eli: Part of the secret sauce of Powerwasher is that half of the songs start with what could be a Rolling Stones riff. At some level, it's really not that different. You just dial back all of the unhinged stuff to 2%. Spencer: I don’t remember when Tiger wrote that song, but I do feel like, in a sense, it’s a good link between the EP and the album, because there were some slower, more reserved moments on the EP, like “You Were Just Here” and the beginning of “Hard to Explain.” Tiger: Another thing about that is also just the baggage that you bring into a band. When you sit down with three other people to write music, you’re pulling from the same influences, picking up your guitar the same kind of way. Even if we consciously think we're going to write a slower, country style song… “We exist in the context of that which came before us.” It's going to make it sound like a Powerwasher song. Spencer: I could not put it into words at all, but when we're writing stuff now, we'll have a riff or a passage, and we'll be like, “It's not quite Powerwasher-y.” We set it aside. I don't really know what that means, but it feels instinctive. **Do you have any shared influences besides Palm and the Rolling Stones? I'm curious about what the Powerwasher extended universe looks like.** Eli: I think the big shared one is Death Grips. Tiger: I think Spencer is the only one who listens to post-punk music. Spencer: For the album, I remember I had been obsessed with this album for a long time by the Hecks, I think it's just self-titled. And Dave Vetrano, the guy that ended up mixing our album, it was his band. I don't know if I’d call it post-punk. It's borderline no wave. That was a big influence for me during the pandemic and when I was approaching the album. I feel like, strangely, I’m the one that listens to the most guitar music, but I play drums. I have written a couple things on guitar for Powerwasher, but not a ton. Eli: I’m pretty much only listen to rap music. Tiger: During the pandemic, I was listening to *Pet Sounds* every single day. That and Squarepusher. Kendall: Eli and I both like a lot of 2000s post-hardcore stuff, and some of that kind of leaked into the writing process. At the Drive-In, Glassjaw, that kind of stuff came out a little bit, mixed with the post-punk influence. Eli: While we were working on it, I was kind of joking that this record is like Talking Heads meets At the Drive-In. **What is the role of humor in the band? I feel like I’m laughing as much as I’m wincing at how real the lyrics are.** Tiger: I don’t think we’re funny at all! \[*laughs*\] We try to have a good sense of humor about things. I feel like humor is the only way you could possibly respond to how fucked up everything is. I think that bleeds through. But I think playing music with people, you’re there to have a good time at the end of the day. If you can say something insightful, that’s a bonus. Kendall: It also often feels a little silly to take stuff too seriously, especially playing in a rock band as a 30-year-old. It just seems goofy to think about it too hard. Tiger: *I’m so angry, I hate the world, I’m so depressed.* Yeah, now watch a grown man stand in front of you and sing a song about it? You’ve gotta be a good sport. **How do you feel like you fit into the Baltimore music scene right now?** Eli: We’re the best band in Baltimore! \[*laughs*\] No, we’ve got some good friends in the scene. Shout out [Muscle](https://muscleisking.bandcamp.com/album/born-to-be-alive?ref=see-saw.fun) and [Ripley Void](https://ripleyvoid.bandcamp.com/?ref=see-saw.fun). Kendall: There are not many bands like us in Baltimore, which feels like a good and bad thing sometimes. **What does next year look like for Powerwasher?** Spencer: We’re working on an EP, but there’s no release date for that. Eli: There’s a bunch of adult stuff getting in the way of devoting our lives entirely to punk rock. Tiger’s got a new job, I’m getting married in April, so you have to plan around PTO and all this other shit. Tiger: I have a 401K now! I’m moving up in the world. Eli: Yeah, “Catalog” was a spell. You manifested it. Tiger: Having a Zoom or email job is corrosive to the human psyche. We’ll see how long this lasts. Spencer: We do have more specific goals with the next thing we're going to write, but I don't know if we should go into detail because if we fail at that achievement, I don’t want to have egg on my face. But Eli said he was writing songs to appease my taste. Eli: Yeah, basically Spencer told me that I couldn't do any more emo bullshit on guitar, so I tuned to drop D, and I’m only playing power chords. Spencer: Because we are sort of a long distance relationship band, I'd like to try a more collaborative approach than we've been able to do before. But again, we'll see if life gets in the way. Kendall: The three of us in Baltimore usually write all the songs, and then Tiger comes in and does vocals when we start recording. Spencer: Now that we're playing shows, Tiger will come to Baltimore for a weekender, and there is more collaboration than there was for the full length already, but it'd be nice to have even more if possible. Eli: We’re all pretty excited about the new record. It sounds extremely different from anything we’ve put out before, in a good way I hope. I think there's some chance that if you loved *Everyone Laughs*, you will not love this. But it’s very Powerwasher in that it is, I think, very punk and unhinged. --- *see/saw is a reader-supported publication. If you enjoyed this article, please consider a* [*subscription*](https://see-saw.fun/chubby-and-the-gang-on-closing-a-trilogy-the-power-of-unions/#/portal/) *to support this independent punk journalism operation.* ### punk this week: lambrini girls, crime light, ismatic guru + 10 more URL: https://see-saw.fun/punk-this-week-lambrini-girls-crime-light-ismatic-guru-10-more/ Last updated: 2025-01-10T19:56:19.000Z Welcome to [Punk This Week](https://see-saw.fun/punk-this-week-fentanyl-satanic-togas-7-more/), see/saw’s weekly column exploring the latest and greatest punk and rock’n’roll records. In the first installment of 2025, we lead off with the massive new record from Lambrini Girls and then get into a magnificent pile of records that kicked off this year including Columbus’ Crime Light, Buffalo’s Ismatic Guru, Croatia’s the Hahas and the Blablas, Australia’s Gnome, Lansing’s Snarewaves, Vancouver’s the Artists, and many more. You wanna know about all the good new records, this week and every week? Punk This Week is available to paid subscribers (and [those who barter](https://see-saw.fun/bartering/) their way across the paywall). Free subscribers still have access to interviews, podcasts, playlists, and other weekly posts. [Please consider a subscription](https://see-saw.fun/punk-this-week-slither-vaxine-the-last-survivors-5-more/#/portal/), free or paid, to help grow this reader-supported endeavor. --- **Lambrini Girls:** [***Who Let the Dogs Out?***](https://lambrinigirlsband.bandcamp.com/album/who-let-the-dogs-out?ref=see-saw.fun) **\[City Slang\]** It’s the biggest punk release of the week—a riot grrrl band with a rocket strapped to them. They’re “should probably be nominated for Grammys if those people know what they’re talking about” big. The debut album from Brighton’s Lambrini Girls is intense and bitingly hilarious. Throughout the incredibly titled *Who Let the Dogs Out?*, Phoebe Lunny is scream-barking down dudes following her on the sidewalk while she grips her keys. She’s rolling her eyes (while still screaming) at coworkers asking for a lunch break suck job. Lily Macieira provides a massive bass sound, making these tracks sound enormous and monolithic. (The record’s production is unreal, thanks in part to producer Daniel Fox of Gilla Band.) A towering feat for punk rock that’s pop-forward, accessible, and sends a crucial message. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2025/01/a1851543162_10.jpg)](https://lambrinigirlsband.bandcamp.com/album/who-let-the-dogs-out?ref=see-saw.fun) --- _This post is for paying subscribers only._ ### punk this week podcast 17: ghoulies + disappearances URL: https://see-saw.fun/punk-this-week-podcast-17-ghoulies-disappearances/ Last updated: 2025-01-07T15:58:17.000Z ![audio-thumbnail](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/media/2025/01/punkthisweek17_mixdown_thumb.jpeg) punk this week 17: ghoulies + disappearances 0:00 /2996.76 1× Punk This Week *is see/saw’s weekly podcast from co-hosts Evan Minsker and Nina Corcoran, breaking down the latest releases in the world of punk rock. Each episode highlights two records with brief discussions of an additional four.* In the first episode of 2025, Evan and Nina look at an impressive first week of the new year for punk rock records. Headlined by [Ghoulies’ *Shafted By the Algorithm*](https://ghouliesperth.bandcamp.com/album/shafted-by-the-algorithm-2?ref=see-saw.fun)and [Disappearances’ *Harrowgate*](https://disappearanceshc.bandcamp.com/album/harrowgate?ref=see-saw.fun), the episode also features the latest from [Seudo Youth](https://goingundergroundrecords.bandcamp.com/album/nobody-gets-down-like-seudo-youth?ref=see-saw.fun), [Crochet](https://702crochet.bandcamp.com/album/cherish?ref=see-saw.fun), [Good Flying Birds](https://rottenapplelabel.bandcamp.com/album/good-flying-birds-talulahs-tape?ref=see-saw.fun), and [Silo Kids](https://earthgirltapes.bandcamp.com/album/demo-3?ref=see-saw.fun). Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.fun). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/seesawdotfun/?ref=see-saw.fun) and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). --- **Further linking:** - [Order a copy of see/saw’s top 52 punk + rock'n'roll records of 2024 zine](https://see-saw.fun/see-saws-top-52-punk-rocknroll-records-of-2024-a-zine/)! - [year 1: a see/saw party lineup announcement](https://www.instagram.com/p/DEXX0wSO6Hc/?img%5Findex=1&ref=see-saw.fun) - Ghoulies interview on [*Gimmie Gimmie Gimmie*](https://gimmiezine.com/2020/10/29/ghoulies-interview/?ref=see-saw.fun) --- *Punk This Week* is made possible by see/saw subscribers; please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-00-gel-chris-burns-his-going-concerns/#/portal/) if you enjoy this podcast and tell one friend about us. ### playlist: the best punk songs of december 2024 URL: https://see-saw.fun/playlist-the-best-punk-songs-of-december-2024/ Last updated: 2025-01-06T14:30:02.000Z Over here, December was dominated by the process of shipping the critically acclaimed [see/saw year end broadsheet](https://see-saw.fun/see-saws-top-52-punk-rocknroll-records-of-2024-a-zine/) and ironing out details around the forthcoming year one party ([peep that lineup](https://www.instagram.com/p/DEXX0wSO6Hc/?img%5Findex=1&ref=see-saw.fun)). I also saw the Dylan movie with my mom and watched several of my relatives swing my gleeful toddler by the armpits. The start of the year has me excited about the shape of punk to come; new records that offer a rare glimmer of joy on the horizon. It feels great to return to see/saw—to fill a new planner with release dates for new records and think about what kind of writing I’d like to see in the world. It’s nice getting back into the swing of the podcast with Nina and putting together new episodes of the radio show (now airing weekly on KOOP in Austin!). see/saw Walkman Club is gearing up to launch over on [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun); we’re geeking out about a bunch of new records over there, as usual. I’ve got a few features cooking, and the Punk This Week column returns this Friday. With all this looking ahead, it’d be easy to gloss over the hours in December where I got excited about punk records. Home from the holidays, I found a tape from Heather the Jerk on my doorstep—a reminder of how much sick music came out right before all that holiday travel. The December punks deserve their flowers, so before we barrel into what’s ahead, here’s where we’ve been. [**the best punk songs of december 2024**](https://www.buymusic.club/list/seesaw-best-punk-december-2024?ref=see-saw.fun) Adult Human Females - Tuck Tuck Goose (Live at Tompkins Square Park) Yuasa-Exide - Computer Strike BUIO OMEGA - ON THE PROWL Patrol - Breakout Pleasants - Sick Sad Situation Heather the Jerk - Dü It Again Rifle - Cut Me Loose EYE BALL - RUBBER HAMMERS Rude Television - Lawless Zap Pack - THESE MEDS DON'T HELP ME MEGA X - ホログラムシティ King Dick - Romantic Love Shrine HUGAYZ - WE HUGAYZ Abe and the Shits - Stab me CUCUY - YOU FUCKING MORONS Raya - Un despertar LARRY & THEE JERRYS - THE PITCH ROTARY CLUB - ITU-D The Pancake Haus - Turn On Yr Hope WWW - Odio Humanoide Fast Johnny and The Slow Burners - Self Depreciation Titanium Expose - Exile Amusement - Holding On P. Noid - Go Somewhere Else Cyclo Sonic - Rattlebox Lavender Jets - Spaulding Street NRG - Control X2000 - Fragmentar El Futuro STARBURST - THERES MOLD Vermit - bouquet of vomit DD Deth - POSSESSED BY DOOM SLITHER - Projector Vaxine - Thread of Hate Smertegrænsens Toldere - I Gang FOIL - Nuclear Family GAOLED - THUNDERCAP CICADA - GROWTH PATIENCE UNDERSTANDING The Apparition - Verbrauch BALLISTIX - CEO ASSASSINATION SQUAD ### top 5 punk shows that made me feel like I’d be ok in 2024 URL: https://see-saw.fun/top-5-punk-shows-that-made-me-feel-like-id-be-ok-in-2024/ Last updated: 2024-12-31T18:15:57.000Z There’s some foundational wiring from my teenage years around seeing rock bands in small rooms—how the bass drum reverberating in my chest physically altered how I felt. A good punk show is how I’m guessing other people feel about church or sports. It’s a space for community, an opportunity to be washed in a potentially life-expanding experience, and sometimes, you can drink there. There was this period in the late summer when I eased back from three different SSRIs to one, and during this time, I was seeing one or two shows per week. I joked about how maybe I could just replace meds with punk shows, but I really do think being at Unlawful Assembly’s hardcore fest in Milwaukee when I was in a state of chemical upheaval was crucial—to feel pummeled by sound for hours in a row. I’ve never consulted a professional about that feeling, but I guess it’s the same logic that explains why people love rollercoasters or cold plunges or skydiving or whatever—it feels unbelievable to have your breath taken away. Escapism seems like the wrong word, because you’re in a room with friends and acquaintances. At a show, I always have this deep physical self-awareness. It’s a warmth that just radiates, a big stupid grin that I can’t shake, that deep buzz ricocheting inside my organs. It’s a feeling I carry with me for hours afterward. I can’t use words like endorphins or dopamine because I’m not smart enough to know what I’m talking about, but it’s probably that stuff. In 2024, I went to more shows than any other year in my life. I genuinely think it helped. These are the top five sets that lifted me up and evened me out this year. --- 1. **208 at Outer Limits Lounge in Hamtramck, Michigan on July 27 (Strohdown)** Months earlier, I’d met Kyle and Shelby on a much colder night for an [interview](https://see-saw.fun/208-on-turning-trauma-into-shit-fi-bangers/) out behind Outer Limits. They were so kind. Watching them live was a flipped switch, this relentless blues rock bludgeoning with Shelby deadpan in sunglasses while Kyle—barefoot, eyes rolled back in his head, tongue dangling out of his mouth—was taken by the devil. It’s everything I loved about their *Possession* EP manifest in the most intense and physical set I’d seen all year. Afterward Kyle came over and said hello, a broad warm smile on his face. His finger was bleeding profusely because he ended the set by ripping the strings off his guitar the hard way. Shelby mentioned that he’s always bleeding after they play. --- 1. **Cicada at Cactus Club in Milwaukee, Wisconsin on September 21 (Unlawful Assembly Vol. 4)** “Now let’s get back to that real shit,” somebody shouted during a quiet moment after Fugitive Bubble’s set. I felt defensive because that set was excellent, but that person was just saying the quiet part out loud—the band’s groove-forward art punk is uncompromising and unparalleled, but due to the hardcore festival weekend’s overall intensity, it was a rare lull for the pit. In hindsight, their nuance led to the boiling point that was Cicada’s set. It was that rare thing where the entire crowd became a single moving organism, the current of people in the back swaying to accommodate the uncontainable pit at the front. Bodies flew unceasingly while the Richmond band exerted their control over this very game crowd. Up to this point, I’d had a difficult time choosing a favorite set of the weekend, and then suddenly, this was the one. --- 1. **Day Residue at Third Man Records in Detroit, Michigan on July 23** When I bought a ticket to see Snooper at Third Man Detroit, I hadn’t realized Day Residue were on the bill. This was a classic case of a hometown opening band absolutely smoking the touring headliner. Snooper are great! No disrespect! Still, the two bands’ energies stood in contrast. Compared to the elaborately choreographed and staged headlining show, Day Residue created this dark, chaotic sprawl. It was intense and absolutely mesmerizing and could’ve gone on for an extra hour. I swear I’m not trying to shit on Snooper with this blurb, they just happened to follow an all-timer phenomenal live show. --- 1. **The Spits at Cedar Cultural Center in Minneapolis, Minnesota on September 28 (Extreme Noise 30th Anniversary Show)** Sometimes the best set is the one that makes you laugh nearly the entire time; it’s how I felt at a Neo Neos show to start the year. Part of the joy from the Spits show was the running bit (acting like it was their last song for like seven consecutive songs), but they’re also an unstoppable live band. Accompanied by Benni, this show amplified everything I love about their records while underlining just how good the actual songs are. By this point I was already riding high from some excellent sets by Texture Freq, Kapital, and Bermuda Squares, plus the pleasure of seeing Urinals. But this was just a relentless melodic buzzsaw, and I couldn’t stop smiling. --- 1. **Slut Intent at Seward Café in Minneapolis, Minnesota on September 2** Buio Omega booked a birthday show for themselves featuring only very good hardcore bands, and the one that knocked me on my ass was Slut Intent. I remember walking the entire perimeter of Seward Café’s patio, wanting to experience this from every vantage point. Logan Chelmo documented this one, so give it a watch below. --- **These were also great:** COFFER and Leather Uppers at Hamtramck’s Outer Limits Lounge; Cruelster and Piss Me Off at Cincinnati’s Feel It Records; Kaleidoscope, No Knock, Public Acid, Fugitive Bubble, Invertebrates, Alienator, Necron 9, and Total Con at Milwaukee’s Unlawful Assembly Vol. 4; Buio Omega, Makin’ Out, and Marked Men at Minneapolis’ Cloudland Theater; Snooper at Third Man Detroit; Stress Positions, Bootcamp, Step Sister, and Buio Omega at Minneapolis’ Seward Café; Panel, Joust, the Slow Death, and Laugh Track at Minneapolis’ Eagles No. 34; Neo Neos and Spit Takes at Minneapolis’ Cloudland Theater; Ira Glass at Eau Claire’s Masonic Temple; Bermuda Squares, Texture Freq, and Kapital at Minneapolis’ Cedar Cultural Center; Meditation, Visual Learner, and Hot Pursuit at Minneapolis’ Disgraceland; The Hentchmen at Ann Arbor’s Heidelberg (basement); Citric Dummies and Jack White at Minneapolis’ First Avenue ### punk this week podcast 00: gel + chris burns & his going concerns URL: https://see-saw.fun/punk-this-week-podcast-00-gel-chris-burns-his-going-concerns/ Last updated: 2024-12-27T19:45:58.000Z ![audio-thumbnail](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/media/2024/12/see-saw-punk-this-week-1_mixdown--2-_thumb.jpeg) punk this week 00: gel + chris burns & his going concerns 0:00 /2601.48 1× Punk This Week *is see/saw’s weekly podcast from co-hosts Evan Minsker and Nina Corcoran, breaking down the latest releases in the world of punk rock. Each episode highlights two records with brief discussions of an additional four.* This is episode zero—a time capsule from mid-August when the two of us decided to try making an episode of the podcast to see how we liked doing it. It turns out we loved doing it, so we recorded again one week later and released it officially. In the pilot of *Punk This Week*, we discussed the fantastic Gel EP [*Persona*](https://gelhc.bandcamp.com/album/persona?ref=see-saw.fun), *Kablooey!* by [Chris Burns & His Going Concerns](https://celluloidlunch.bandcamp.com/album/kablooey?ref=see-saw.fun), plus new records from [Total Hell](https://totalhell.bandcamp.com/album/killed-by-evil?ref=see-saw.fun), [Rixe](https://lavidaesunmus.bandcamp.com/album/tir-group?ref=see-saw.fun), [Meamarga](https://meamarga.bandcamp.com/album/meamarga?ref=see-saw.fun), and [Hong Kong Fuck You](https://notimeforfun.bandcamp.com/album/the-pretty-much-every-fucking-song-weve-ever-recorded-except-some-new-shit-because-those-arent-finished-yet-and-we-made-this-before-they-came-out-discography-2017-2024-ntr-415?ref=see-saw.fun). Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.fun). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/seesawdotfun/?ref=see-saw.fun) and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). [Order a copy of see/saw’s top 52 punk + rock'n'roll records of 2024 zine](https://see-saw.fun/see-saws-top-52-punk-rocknroll-records-of-2024-a-zine/)! *Punk This Week* is made possible by see/saw subscribers; please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-16-favorites-from-2024/#/portal/) if you enjoy this podcast and tell one friend about us. ### punk this week: slither, vaxine, the last survivors + 5 more URL: https://see-saw.fun/punk-this-week-slither-vaxine-the-last-survivors-5-more/ Last updated: 2024-12-20T22:05:28.000Z Welcome to [Punk This Week](https://see-saw.fun/punk-this-week-fentanyl-satanic-togas-7-more/), see/saw’s weekly column exploring the latest and greatest punk and rock’n’roll records. It’s the last one of these for the year, focusing on some exceptional underground records including a new hardcore banger from Minneapolis and a split from Vaxine and the Last Survivors. You wanna know about all the good new records, this week and every week? Punk This Week is available to paid subscribers (and [those who barter](https://see-saw.fun/bartering/) their way across the paywall). Free subscribers still have access to interviews, podcasts, playlists, and other weekly posts. [Please consider a subscription](https://see-saw.fun/punk-this-week-cicada-rifle-rotary-club-8-more/#/portal/), free or paid, to help grow this reader-supported endeavor. Also, grab a copy of the [year-end zine](https://see-saw.fun/see-saws-top-52-punk-rocknroll-records-of-2024-a-zine/) if you haven’t, I’ve only got a handful left in hand. Thanks, and see ya again in 2025. --- **SLITHER: *SLITHER* \[self-released\]** This is the last column of the year, and it feels appropriate to lead with a Minneapolis band. In a wild year for Minneapolis punk, this debut from SLITHER absolutely overdelivers. A harrowing and howling hardcore record that’s exceptional—its echoing brutalist vocals, all-speed percussive crash, and guitar solos that aim for the rafters but always seem on the cusp of completely falling apart. There’s a good balance of precision and DIY shagginess; intense in a way that still feels within reach. It’s punk house basement show reverie; the good life. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/12/a0053265513_10.jpg) _This post is for paying subscribers only._ ### punk this week podcast 16: favorites from 2024 URL: https://see-saw.fun/punk-this-week-podcast-16-favorites-from-2024/ Last updated: 2024-12-19T16:08:41.000Z ![audio-thumbnail](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/media/2024/12/punkthisweek16_mixdown_thumb.jpeg) punk this week 16: favorites from 2024 0:00 /4006.32 1× Punk This Week *is see/saw’s weekly podcast from co-hosts Evan Minsker and Nina Corcoran, breaking down the latest releases in the world of punk rock. Each episode highlights two records with brief discussions of an additional four.* It’s the time of year when the premise becomes elastic, because *Punk This Week*’s final episode of 2024 isn’t about brand new music. Evan and Nina take a look back on some favorite records from throughout the year (that they hadn’t already discussed at length on the show). Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.fun). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/seesawdotfun/?ref=see-saw.fun) and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). --- Further linking: - [see/saw’s top 52 punk + rock'n'roll records of 2024 zine](https://see-saw.fun/see-saws-top-52-punk-rocknroll-records-of-2024-a-zine/)! - EXO interview [on see/saw](https://see-saw.fun/exo-made-an-album-about-bugs-on-some-haunted-tapes/) - Melkbelly interview with Elijah Wood [on The Talkhouse](https://www.talkhouse.com/elijah-wood-and-melkbellys-kids-have-good-taste-in-music/?ref=see-saw.fun) - Allison Hussey’s “[The Invisible Work of Mothers in Music](https://pitchfork.com/features/article/the-invisible-work-of-mothers-in-music/?ref=see-saw.fun)” - 208 interview [on see/saw](https://see-saw.fun/208-on-turning-trauma-into-shit-fi-bangers/) --- *Punk This Week* is made possible by see/saw subscribers; please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-15-mega-x-heather-the-jerk/#/portal/) if you enjoy this podcast and tell one friend about us. ### buy these punk for palestine benefit releases from 2024 URL: https://see-saw.fun/buy-these-punk-for-palestine-benefit-releases-from-2024/ Last updated: 2024-12-16T17:18:44.000Z Genocide is fucked up, heartbreaking, demoralizing, infuriating, and devastating. Musing about the year in entertainment feels hollow. The holidays feel false. Children are dead. There’s this impulse I have to mourn and deflate, to follow my sinking gut. Instead, I’m trying to focus on people who made things happen: The bands who organized DIY benefits this year like the legendary Tompkins Square Park show that Haram, Warthog, and Necron 9 played. Everyone who protested. Every person holding a microphone at the hardcore gig screaming “free free Palestine.” Every punk who kicked out some motherfucker who booed or scoffed at that sentiment. Then there are all the people who put together benefit releases. Punks raised a significant amount of money to get humanitarian aid to families in Gaza. So this is something you can do: Even if the tapes are sold out, go buy all the files. Listen to every band, especially the ones you’ve never heard of. If there’s a compilation I should add here, DM or email me: eminsker at gmail dot com. Rachel Courtney has compiled a running list of benefits across genres, [find that here](https://linktr.ee/GazaBenefits?ref=see-saw.fun). Free Palestine. [***Palestine Solidarity Compilation Vol. 1***](https://palestinesolidaritycompilation.bandcamp.com/album/palestine-solidarity-compilation-vol-2?ref=see-saw.fun)**&**[***Vol. 2***](https://palestinesolidaritycompilation.bandcamp.com/album/palestine-solidarity-compilation-vol-2?ref=see-saw.fun) Make a donation directly to UNRWA, PCRF, PRCS, ANERA, MAP, or PYM; e-mail the donation receipt to gd4palestine@gmail.com and note the volume you want. You want both volumes, to be clear. The first volume has Gee Tee, Billiam, Lothario, Cherry Cheeks, Pyrex, and Neo Neos. The second has Uranium Club, SPLITT, Split System, the Gobs, Heather the Jerk, and Spread Joy. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/12/a2068724729_10.jpg) [***Bats for Palestine***](https://traitdunion.bandcamp.com/album/bats-for-palestine?ref=see-saw.fun) A goth and cold wave compilation from France that benefits Collectif Palestine Vaincra. A lot of these compilations understandably are going for names, but this feels like a comp in the true sense where it’s partially a genre showcase and scene report. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/12/a3661522573_10.jpg) [***No Genocide***](https://thedissidents.bandcamp.com/album/no-genocide-a-benefit-for-mutual-aid-in-gaza?ref=see-saw.fun) **/** [***No Occupation***](https://thedissidents.bandcamp.com/album/no-occupation-another-benefit-for-mutual-aid-in-gaza?ref=see-saw.fun) **/** [***Yes Liberation***](https://thedissidents.bandcamp.com/album/yes-liberation-a-benefit-for-mutual-aid-in-gaza?ref=see-saw.fun) Dissidents released a trilogy of Gaza benefit compilations this year, and all three are immaculately curated: Mujeres Podridas, Chain Cult, CLASS, Pura Mania, and GOLPE, Rat Cage, Alien Nosejob, Soup Activists, Prison Affair, and more all appear. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/12/a1837449749_10.jpg) [**Girlsville’s *No Sleep Til Palestine Is Free***](https://girlsville.bandcamp.com/album/no-sleep-til-palestine-is-free?ref=see-saw.fun) Billiam, Cut Piece, Hood Rats, Pyrex, Freak Gene—there are of course some unbelievable bands on Girlsville’s compilation. I’d argue the best moment is Germ House covering Limes’ “Blow This Town,” and Threx’s Shangri-Las cover is sick too. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/12/a1885805717_10.jpg) [***Peace of Mind in a Troubled World Vol. 1: NYC 2024 Compilation***](https://peaceofmindinatroubledworld.nyc/?ref=see-saw.fun) I’m actually unclear if this one’s still available, but it’s worth emailing Peace of Mind to see. It’s up on YouTube, this incredible snapshot of NYC punk right now: Straw Man Army, Abism, Kaleidoscope, Flower, No Knock, Disputa, Decept, Love & Compassion, and more appear. [***Action Now! A Paperface Zine Benefit Tape for the Palestine Children's Relief Fund***](https://paperfacezine.bandcamp.com/album/action-now-a-paperface-zine-benefit-tape-for-the-palestine-childrens-relief-fund?from=search&search%5Fitem%5Fid=3114026618&search%5Fitem%5Ftype=a&search%5Fmatch%5Fpart=%3F&search%5Fpage%5Fid=3929230398&search%5Fpage%5Fno=0&search%5Frank=3&logged%5Fin%5Fmenubar=true&ref=see-saw.fun) All profits go to PCRF. It features tracks from Feeling Figures, CLASS, the Spatulas, Sugar Tradition, Itchy and the Nits, and more. Compiled by Joe Massaro of the great publication Paperface. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/12/a1469236100_10.jpg) [***Memphis for Palestine***](https://machineduplicationrecordings.bandcamp.com/album/memphis-for-palestine?ref=see-saw.fun) A compilation of largely unreleased music from Memphis musicians that crosses genres and raises money for the Palestine Children's Relief Fund and Palestine Legal. It’s got Aquarian Blood doing freak folk, Big Clown screaming over a rough mix, an extended live Optic Sink jam, an ethereal pop song from Bennett, and much more. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/12/a2262036446_10.jpg) [**Music for Iran’s *Palestine Solidarity Mix***](https://wlfmusicforiran.bandcamp.com/album/palestine-solidarity-mix?ref=see-saw.fun) With all proceeds going to The Sameer Project, Music for Iran’s collection includes contributions from Being Dead, Jacco Gardner, the Serfs, BEAK>, Gimic, and more. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/12/a3288764703_10.jpg) [**Sentiero Futuro Autoproduzioni’s *Punx for Gaza***](https://sentierofuturoautoproduzioni.bandcamp.com/album/punx-for-gaza-benefit-compilation-for-mutual-aid-in-gaza?ref=see-saw.fun) With money going to the Laylac Center (Palestinian Youth Action Center), this comp has music by Comunione, Narkan, Mirage, Lucta, and Cimitero. The chaotic and exceptional Golpe track “Nato Colpevole” is worth the price of admission on its own. The TV Dust and Kalashnikov Collective tracks are excellent, too. There’s no unifying aesthetic—just a unifying belief. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/12/a2849124737_10.jpg) [**Open Palm Tapes’ *Liberation for All: A Palestine Benefit Comp***](https://openpalmtapes.bandcamp.com/album/op-37-liberation-for-all-a-palestine-benefit-comp?ref=see-saw.fun) The Chicago label’s compilation features hardcore and punk from bands including Stress Positions and M.A.Z.E. Proceeds will reach the Red Crescent Society in Palestine. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/12/a3626471715_10.jpg) [***When I Survive***](https://whenisurvive.bandcamp.com/album/when-i-survive?ref=see-saw.fun) A just-released UK comp that raises funds for two people from Gaza City: Yahya Al Hamarna (@yahya\_alhamarna) who is now displaced in Khan Younis, and Yousef Abdellatif (@yousef\_altamimi1) who is now displaced in Nuseirat. It features 42 songs and some heavy hitters including Lambrini Girls. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/12/a2487325740_10.jpg)](https://whenisurvive.bandcamp.com/album/when-i-survive?ref=see-saw.fun) [***Musicians for a Free Palestine***](https://musiciansforafreepalestine.bandcamp.com/album/musicians-for-a-free-palestine?ref=see-saw.fun) Several bigger names on this one, including Mannequin Pussy, Deerhoof, Downtown Boys, Shamir, Babehoven, Frankie Cosmos, Horse Jumper of Love, Squirrel Flower, and Ted Leo. All profits go to purchasing eSims for Gazans. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/12/a2020401947_10.jpg) [**Black Violence Presents *100 Punks for Palestine***](https://blackviolencepresents.bandcamp.com/album/100-punks-for-palestine?ref=see-saw.fun) Boston bands coming together; donations of different amounts gets you different stuff. There’s [more info on Instagram](https://www.instagram.com/p/C6Ec5FjO3IX/?img%5Findex=2&ref=see-saw.fun). ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/12/a0166353641_10.jpg) [***A Homeland Denied: A Compilation for Palestinian Liberation***](https://hardcore4gaza.bandcamp.com/album/a-homeland-denied-a-compilation-for-the-palestinian-liberation?ref=see-saw.fun) This French compilation features 121 bands in all, focusing on hardcore and metal. All profits are donated to MECA for Peace. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/12/a0132196647_10.jpg) [**Met Ba Pogo’s *The Black List***](https://metbapogo.bandcamp.com/album/the-black-list?ref=see-saw.fun) A grindcore and powerviolence collection, revenues will be donated to organization that act against the starvation in Gaza. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/12/a3547569618_10.jpg) [**Gold Bolus’ *Mandatory Liberation Vol. 1***](https://goldbolus.bandcamp.com/album/mandatory-liberation-vol-1?fbclid=IwZXh0bgNhZW0CMTAAAR1IcY6PTV8jTNpnKaK3CGpJxk4MCTxG-RGahw9kjKFAQdYNuqqLpiUb0SI%5Faem%5FpcjUevG%5FgSGu1InHRKzpcQ&ref=see-saw.fun) A multi-genre collection that includes a track from Detroit’s Deadbeat Beat. Proceeds are donated to Crips for eSims for Gaza, which donates funds that allow Palestinians to receive aid and maintain communication with one another and the outside world. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/12/a3846782790_10.jpg) [**Naru Records’ *A Better Tomorrow for Palestine***](https://narurecords.bandcamp.com/album/a-better-tomorrow-for-palestine?ref=see-saw.fun) Japanese metal compilation, donations made to Medical Aid for Palestinians. There’s 21 songs here, just completely intense shit. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/12/a2002928092_10.jpg) [**Gardenhead’s *Free Palestine: A Benefit Compilation For The Palestine Children's Relief Fund***](https://gardenheadrecords.bandcamp.com/album/free-palestine-a-benefit-compilation-for-the-palestine-childrens-relief-fund?ref=see-saw.fun) A. Savage, Homeshake, and Cindy Lee are among the artists who contributed to Gardenhead Records’ compilation. All proceeds go to the PCRF. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/12/a3670528798_10.jpg) [***Gegen Jeden Genozid***](https://gegenjedengenozid.bandcamp.com/album/gegen-jeden-genozid?ref=see-saw.fun) A German compilation featuring an array of heavy music. “All purchases will go directly to comrades fundraising for evacuations from Gaza to Cairo.” ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/12/a4090771357_10.jpg) [**Tadpole’s *Medical Aid for Palestine: Benefit Mix 2024***](https://tadpolerecords.bandcamp.com/album/medical-aid-for-palestine-benefit-mix-2024?ref=see-saw.fun) A hardcore and punk collection from the UK label that includes music by Golpe, Power Pants, Incident, Louse, and more. Donations go to Medical Aid for Palestine. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/12/a0111311012_10.jpg) [**Second Floor Recording Co.’s *Nashville For Palestine***](https://secondfloorrecordingco.bandcamp.com/album/nashville-for-palestine?ref=see-saw.fun) Snooper have a track on this one, as do a bunch of other great Nashville artists. Donations are going to the PCRF. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/12/a1390901122_10.jpg) [***NO MORE DEATHS​:​THAWABET***](https://nomoredeaths.bandcamp.com/album/no-more-deaths-thawabet?ref=see-saw.fun) A metal and grindcore compilation organized by someone in Leeds. The money raised will help provide eSims for families. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/12/a3822848849_10.jpg) [***Palestine: A land of heroic people, killed by a people who stole land***](https://palestinecomp.bandcamp.com/album/palestine-a-land-of-heroic-people-killed-by-a-people-who-stole-land?ref=see-saw.fun) A 40-song punk compilation out of the UK. Money is raised for Cwtch Pals based in Pembrokeshire, Wales; money goes to helping families escaping the bombings. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/12/a0528068371_10.jpg) [***Pittsburgh for Palestine: Extreme and Experimental Music to Benefit the Palestine Children's Relief Fund***](https://pittsburghforpalestine.bandcamp.com/album/pittsburgh-for-palestine-extreme-and-experimental-music-to-benefit-the-palestine-childrens-relief-fund?ref=see-saw.fun) The Paris of Appalachia’s wildest and strangest artists offer nine songs, with proceeds going to the Palestine Children Relief Fund. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/12/a1168253694_10.jpg) [***Punks For Palestine: Aotearoa Compilation***](https://punksforpalestine-aotearoacompilation.bandcamp.com/album/punks-for-palestine-aotearoa-compilation?ref=see-saw.fun) Artists from across Aotearoa, songs specifically about the genocide. Eleven pointed, political rippers. Proceeds go to CareForGaza. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/12/a1959168395_10.jpg) [**Plastic Wound Records’ *Under the Blade of a Zionist Nightmare: (A) Benefit Compilation For the Victims of the Gaza War***](https://plasticwoundrecords.bandcamp.com/album/under-the-blade-of-a-zionist-nightmare-a-benefit-compilation-for-the-victims-of-the-gaza-war?ref=see-saw.fun) An international compilation of bludgeoning hardcore and punk. Profits go to Ele Elna Elak, Heal Palestine, and the PCRF. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/12/a1136207432_10.jpg) [***Unity of the Fields***](https://unityofthefields.bandcamp.com/album/unity-of-the-fields?ref=see-saw.fun) Wild, smothering, obliterating Boston hardcore and beatdown. All proceeds donated to the Gaza Mutual Aid Collective. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/12/a2353650202_10.jpg) ### punk this week: cicada, rifle, rotary club + 8 more URL: https://see-saw.fun/punk-this-week-cicada-rifle-rotary-club-8-more/ Last updated: 2024-12-13T19:02:06.000Z Welcome to [Punk This Week](https://see-saw.fun/punk-this-week-fentanyl-satanic-togas-7-more/), see/saw’s weekly column exploring the latest and greatest punk and rock’n’roll records. This time there’s some feral hardcore from Cicada and GAOLED, the latest from London’s Rifle, Reno’s Rotary Club making wonderful punk music about the joys of the landline, and so much more. It’s a great week, which you know is true because there’s finally a new Abe and the Shits demo. Do you want to read about *all* of those records? Punk This Week is available to paid subscribers (and [those who barter](https://see-saw.fun/bartering/) their way across the paywall). Free subscribers still have access to interviews, podcasts, playlists, and other weekly posts. [Please consider a subscription](https://see-saw.fun/punk-this-week-heather-the-jerk-x2000-zap-pack-8-more/#/portal/), free or paid, to help grow this reader-supported endeavor. And remember to order your copy of [see/saw’s 2024 year end zine](https://see-saw.fun/see-saws-top-52-punk-rocknroll-records-of-2024-a-zine/)! --- **Cicada:** [***True Self Destruction***](https://sexfiendabomination.bandcamp.com/album/true-self-destruction?fbclid=PAZXh0bgNhZW0CMTEAAaalMEY7fcSxc3szPcz-SFQGL6hqG640CZrEgnM6867F%5F1GqT5dw5cLvODc%5Faem%5FSGoIWjPcJGVmTLGty1-WFw&ref=see-saw.fun) **\[Sex Fiend Abomination Tapes and Discs\]** Just a couple months back, Richmond hardcore band Cicada released a crucial 7” on Unlawful Assembly called *Wicked Dream*. This week, they’re back with a new four-song offering called *True Self Destruction*. It’s three songs streaming; for the CCM cover, you’ve got to buy the physical copy. The playing is expertly frantic, the vocals are guttural. It’s music that sounds like a long descent down the chute to hell, a constant rattling with a demon waiting somewhere at the bottom. That’s what life on planet Earth feels like right now. Therefore, this band receives the highest possible endorsement. (see/saw’s Presidential Medal of Freedom.) [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/12/a1407049169_10.jpg)](https://sexfiendabomination.bandcamp.com/album/true-self-destruction?fbclid=PAZXh0bgNhZW0CMTEAAaalMEY7fcSxc3szPcz-SFQGL6hqG640CZrEgnM6867F%5F1GqT5dw5cLvODc%5Faem%5FSGoIWjPcJGVmTLGty1-WFw&ref=see-saw.fun) _This post is for paying subscribers only._ ### chubby and the gang on closing a trilogy + the power of unions URL: https://see-saw.fun/chubby-and-the-gang-on-closing-a-trilogy-the-power-of-unions/ Last updated: 2024-12-11T19:51:22.000Z In spring of 2021, Pitchfork Union was very close to going on strike. In the days before Condé Nast’s lawyers and the union’s team reached an agreement on a contract, paperwork was being filled out and we were fully prepared to picket. As part of that whole thing, we decided to put together a strike zine. Everybody contributed something, an essay or interview or review, mostly with a focus on workers’ rights. I interviewed Charlie Manning Walker, aka Chubby Charles of the ripping UK Oi! greats [Chubby and the Gang](https://www.instagram.com/chubbyandthegang/?hl=en&ref=see-saw.fun). He was a contemporary punk voice shouting about worker solidarity—an active member of an electricians’ union who works on film sets. Months earlier, the band had released “[Union Dues](https://www.youtube.com/watch?v=uG%5FTy8%5Foyls&ref=see-saw.fun),” a song about the very specific nature of going on strike. He sang-shouted about a company making “promises of pie in the sky.” He specifically railed against companies bargaining in bad faith, and the Gang definitely don’t fuck with scabs. Sarah Jaffe’s book *Work Won’t Love You Back* seemed to be invoked when Manning barked “don’t come round here lookin’ for love, we’ll show you where to go.” Speaking to him at the time was invigorating. Hearing someone with anger in his voice, talking about how crucial union contracts while scoffing at hollow boardroom talk, was a rare instance of solidarity from the music world outside the realm of media. It was definitely a positive that we got the contract and didn’t have to run the strike zine at the time, but it’s a piece I’ve reflected on regularly. It’s been over three years and a lot has changed in both Charlie’s life and my own. We’re both still pushing our wares, but things feel different. His latest album [*And Then There Was…*](https://flatspotrecords.bandcamp.com/album/fsr77-and-then-there-was?ref=see-saw.fun) arrived in September, the band’s best record since [*Speed Kills*](https://chubbyandthegang.bandcamp.com/album/speed-kills?ref=see-saw.fun)*.* It opens with a bang. Created in a studio with Jonah Falco and James Atkinson, it’s a record that merits a deeper consideration here at the end of the year. It sounds major, both reminiscent of the best Gang songs while also sounding more mature. It completes a trilogy of albums, giving the closing bruised piano ballad “Cocaine Sunday” a true heft. Listening to the album, I thought a lot about our earlier conversation. His politics have always aligned pretty tightly with my own, and I’ve always admired his work. There’s an ambitiousness to this newest album, which I think can sometimes get knocked in the punk world. That’s silly, though, as there’s plenty of room in punk for ambition. The journey from the punchy immediacy of *Speed Kills* to a more patient work like *And Then There Was…* tracks “To Fade Away” and “Cocaine Sunday” should be celebrated. Presented here are conversations from different points in the Chubby Charles story—one from October just after the new album’s release & the 2021 pre-see/saw chat about workers’ rights. --- **October 7, 2024** **Can you tell me a bit about how the process of making this album compared to the previous two?** It was more similar to *Speed Kills* in a sense. I was just talking about this earlier, actually, like the whole thing has been happening through COVID times essentially, and this was the first one on the sort of on the other side of COVID. So like with *Speed Kills,* I wrote all that in my room, kind of like, “I don’t know whether I should do it at all,” and Jonah helped me facilitate that into reality. Once the band got a bit of attention, once you've got eyes on you and stuff like that, it's much easier to do stuff. Things went back to square one a little bit and then so it was like sort of just starting again, really, but I think there was like a bit of a point to prove, you know what I’m saying? But in terms of like the actual making of it, what we usually do with Chubby and the Gang is i'll go in to a studio in London take a bit of time demoing some stuff out and then then I’ll start presenting it to like the band or whoever's going to be involved in recording process. So really, the difference on this one was more to do with everything after the writing had been done, the facilitating stuff rather than necessarily the writing process. **Were there any moments working on this record where you surprised yourself? I’m thinking in particular of how your voice comes through on “Cocaine Sunday” as a difference between the new one and previous performances.** I mean, a lot of that's probably confidence, you know? I've never been a singer, and I've always been someone that writes songs but i'm not a good singer. But as time went on, I sort of started becoming more like, “Yeah, no, I could do that.” I sort of started believing in myself a bit more, because it's one thing expressing yourself and there's another thing being like, “Oh, I could do this.” Do you know what I'm trying to get at? So it was more just being able to be like: I've done two LPs where I've sung on it and people sort like were into both of them, so I must be doing something right. So why not just try it? **Was this one just you and Jonah recording?** It was me, Jonah, and James Atkinson, who owns the studio that we recorded at. I mean those two guys are really close friends of mine, so like Atko—we call him Atko, James Atkinson—and Jonah, those two guys are a rare combination of good taste, talent, and ability. They’re two unicorns, basically. Having them in the studio is great because I feel like musicians often get a little bit up their own bums. They love the smell of their own shit. So having someone there to be like, “This is not, this ain't the one, mate.” Or flipside, sometimes I would psych myself out about stuff and be like, “Man, this ain't working. I want it to sound like *this*, but it's not.” They'd be like, “No, no, no. You're almost there. One more time.” And then I'd get it and I'll be like, “Man it wasn't for you being here this song would have been scrapped.” So having them there, it's hard to fucking lose with them two in the room. They’re fantastic. **After speaking with him earlier this year, Jonah seems to me like the kind of producer who’s more of a collaborator in a creative sense than just someone behind the boards or whatever.** Yeah, he definitely is. This word has a negative connotation but he's like an enabler. He’s like, “Yeah, you *can* do it.” A lot of people will come to him and be like, “I don’t know, man, I'm not sure.” He's like, “No, no, no, look, let me,” and he helps you get there. Like, there's a couple of times on a record where I knew what I wanted to happen, but I didn't know how to make that happen. So I was like, “I don't know what this instrument is, but I want it on this song, and I don't know how to make this happen.” And then he'd be like, “Oh, that, that's a fucking…” you know, Mellotron or something. I’d be like, “Ohhh!” So yeah like he's fantastic like that. If you're someone that's new to music or want to expand into territories that you don't really get—like I was—he’s absolutely fantastic for shit like that. **I talked to Jonah about the handclaps on “Uxbridge Road” earlier this year. Do you feel like the elevating pop touches were his influence?** Well, I was the big pusher on the pop thing, but in terms of elevating it, he certainly does that for sure. I went into Chubby and the Gang because at the time, in the scene that I was in, I felt like there was like a sort of Chiswick Records hole which needed to be filled. I just wanted to do everything that was on Chiswick like Motördamn, Johnny Moped, and things like that. I was like, this is the stuff that I'm listening to at the time—well that I’m still listening to—and I wanted to make it where it's palatable enough where a 10 year old can say, “I like this.” But he was certainly the guy that helped me get there. I haven't got the vocal chops to do a proper good oohs and aahs, and he does. That is something that helps, having him there. “All Along the Uxbridge Road,” the harmonica was because I had a harmonica in my car. At the time, I was driving a taxi, and we had this bridge and I was like it's empty, it's not working, it needs something. He was talking about guitar so I was like, “Fucking guitars, every song is a guitar,” so I went into my car, found the fucking harmonica that was in the right key, and I was like, “If this isn't a fucking sign.” Went back in there and just fucking did it. I feel like that kind of set the trend within the band to add different stuff, like, “Hell, the last song had a harmonica on it!” ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/12/Chubby-and-the-Gang---And-Then-There-Was.jpg) **The album cover this time has a different aesthetic than the previous two. I’m wondering what your thought process was this time?** From the start—from the very first one—I wanted to do a trilogy. A sort of journey. This one is the final part of that trilogy, so I wanted to make it feel a bit more like an exit, you know? The guy going off into the distance, the sort of long winding roads, the fact that he's like alone on it. I wanted to keep it psychedelic, like the walls are melting, but this is kind of the thing. And hence “Cocaine Sunday” being at the end of it as well. I'm not saying that this is the last record Chubby and the Gang will do, but I wanted to make it the end of a trilogy. There's more purple, like the end of the night type shit. It’s an exit; closing time. **What do you get out of Chubby and the Gang that you don’t from other bands you’re in? Is it primarily that it’s an outlet for songwriting?** I'm big into songwriting. I do it not necessarily with any intention in the literal sense. It's a hobby which results in an album being made. You know what I'm saying? I mean, if I could show you my fucking phone, I have these videos that I record myself playing guitar riffs. It's like, “Chubby and the Gang ideas” and underneath it's like 300 videos. I'll just sit there and sort of write and write and write and then if it sticks, if I like it, I’ll use it. I tend to be quite hard on myself with writing where I don't want to be the type of person that's like, “I like this, so everyone must like it.” Musicians have a tendency to feel like they have the highest touch. So I just write and write and write. I had to fucking cut two of the tracks on the vinyl of this record because of it being so long, but they're on the download link. We end up just coming up with tracks and tracks and tracks and tracks. The challenge is cutting them out. If anyone’s reading this and wants a song written, I’ll do it for a six-pack of beer. **How’s electrician work, you still doing it?** Yeah, yeah. It’s my one day off this week. I’ve been doing it because I kind of want to separate myself from the reaction of the record being released. Maybe that’s an anxious thing, I’m not sure, but I was like, “I’ll just go to work.” **There’s a lot of noise on the internet, sometimes it’s best not to deal with it.** Yeah, it‘s a lot of attention that makes me get a little bit shy. I’m not really sure how to phrase it because it’s more avoidance than anything. I’m just anxious about how the record’s gonna be received and I’m in denial about that. **I wanted to thank you for doing that unpublished strike zine interview a couple years back. At the time, it meant a lot to me as a show of solidarity; it also deepened how much I wanted to do stuff like that just for myself after Pitchfork. I also still think about the necessity of unions and get genuinely angry when corporations or politicians spout some line about how unions would make a worker’s life worse somehow.** I’ve never met a person who said something like that earnestly. There’s always something behind what they say. I can’t remember what company, it might have been Delta, but they were offering like “if you don’t join the union, you’d have the money for a Playstation” or something like that. Like oh, it’s like that to them. **My union contract, for a couple years there, was life-changing in some ways.** There’s obviously the American election coming up, and we’ve just had an election over here. We had a conservative government for like 15 years or something, and the opposing party historically was created by trade unions. Now they’re in, they had this guy who’s tried to remove them from the trade union history of the party and become, in his eyes I guess, more “moderate” or whatever you want to call it. He’s showing his true colors a little bit and I think more and more people are becoming disillusioned with the mainstream two-party system. It’s like you’re asking me what bollock I want to be kicked in. People will be turning more and more to trade unions. I’m not trying to talk badly about democracy, but it’s difficult to really believe in something when you have two options and you don’t want either. **There was something powerful for me about that chat we had because I think sometimes the rhetoric feels like it only exists online. Like to speak the words out loud felt meaningful.** I’m trying to get more and more involved with the musicians union. I’ve been talking to my friend Tom, he’s a player in that world. In my opinion, it is actually very simple: People are exploited for their labor and that needs to stop. Whether that’s a musician or a bricklayer or, I don’t know, a fucking astronaut. At the end of the day, you need to have some sort of voice within your own workplace, and I think musicians have a really bad habit of having surface level politics. It can be as simple as, “I am learning less because of this tax.” That’s what I tried to do with some of the Chubby and the Gang lyrics. You can talk about a politician in a Senate somewhere and be like “what a bastard,” but I’d like to talk about the effects of what that law does when it gets down to the people, you know? Now I haven’t got money in my wallet. I can’t go and do what I wanted to do. I think that’s political as well. --- ## **April 28, 2021** **Could you tell me a little bit about your experience being in a union?** The thing about my job is that everyone is self-employed. People hire me through word of mouth within the union. If a production is trying to undercut the union rate or if they’re trying to force unsafe working conditions—there’s a whole list of reasons why a production might try to do something silly—we get told about that by the union and we have to turn down the job. My job is a trade. You’re a qualified electrician, but you’re doing it in a creative capacity. I’m presented with productions all the time who are like, “Could you just work the extra two hours? We don’t have the money to pay you for that, but it would really mean a lot to us because it’s a passion project.” And I’m like, “No, it’s your passion project. I have to put bread on the table. No one’s gonna put me up for an Oscar any time soon, I’ll put it like that. You’re gonna get a pat on the back and a fuckin’ medal, and I’m gonna get fuck all.” One of the fuckin’ things that really fucks me off about the creative industry is that you have to fuckin’ flagellate yourself to get somewhere. I don’t understand why this culture is in a place where people are like, “Oh yeah you have to starve for your art.” I think it’s insane. For me, it creates a really toxic environment where people are iced out. They’ll offer these low paid internships and unpaid internships in creative industries to stop people from lower income backgrounds from having access to a job. Whether that’s intentional or not, I have no fuckin’ idea, but if you create a system where you have to work six months to a year with no to little pay, immediately you’re targeting women and people of color and people of working backgrounds, because a lot of people can’t afford to do six months to a year unpaid. If you’ve got kids to look after, and all of a sudden your dream job pops up, you’re like “wow amazing,” but it’s six months to a year unpaid. How the fuck you gonna do it? You can’t. **Yeah that’s part of Pitchfork Union’s fight. People are brought into these publications at entry-level positions with the promise of prestige, opportunities, and how it looks on a resume, but it doesn’t pay a New York City living wage. In order to do this work, you have to come from money or be willing to amass serious debt.** It’s a fuckin’ joke, because a lot of companies will on one hand try and peddle some inclusivity line as a publicity thing and then turn around and make people work for nothing. You can’t have one and not the other. How can you tell me you’re inclusive if you don’t pay people? It’s betrayal. If you enjoy what someone is writing and you want to publish it, or if you appreciate someone’s work and there is money to be made, then that money should be passed around. **Did you write “Union Dues” to empower union workers in labor fights?** Absolutely, 100 percent. The thing that really makes me proud of our trade union is that we’re willing to fight for what we believe in, for our rights, and for each other. A lot of political songs in 2021 are very apologetic, almost. There’s this tone of, “Could we *please*?” Fuck that! No “please.” We need to be paid a living wage. People need to be paid a proper wage in 2021, and that is it. And if you can’t meet us on that, then fuckin’ be prepared for strikes, end of story! I’m sorry, but I’m not going to apologize for being left wing, ever. This is what I believe. **What would you encourage people outside a union like ours to do in order to show solidarity with workers on strike?** It’s always good to help raise money. If you’re a musician and you’ve got friends who are musicians or journalists going on strike, you can do gigs to raise money. I think it’s about time that we, as the music community, start banding together, because there’s a really clear us and them. I think it’s time to band together across…I was gonna say “party lines,” but that’s not what I mean. I think it’s time to stop thinking about the music world as “departments” and more time to think about “who’s standing at the bottom of the hill and constantly getting shit rolled down at them?” We should have solidarity amongst that level of people because we’ll become a much more powerful unit. Musicians in 2021 are really dancing around certain subjects and they’re getting up on stage and being like, “Oh man, isn’t greed bad? Yeah, fuck, greed is bad, yeah. Anyway this song’s about greed.” Unless we get past that initial very obvious fucking criticism of the world, we’re not gonna get into the specifics and therefore we’re not going to change it. Maybe I’m sounding like a dickhead here, but if you get on stage and say that, it’s like yeah, I know that, bro. I’ve known that for a long time because I’ve worked a lot of shit jobs. **It’s very easy to say “this is what I believe” and it’s a whole other thing to do something actionable.** I think a lot of people get scared. That’s a tool—a tactic that’s like, “if I speak up I might not see another job.” That’s where it falls down to that solidarity bit. They can’t fire us all, that’s why we need to stand together, and that’s why it’s important that people don’t scab. For me personally, I wouldn’t even sit at the same table as a scab. If someone has scabbed in my line of work, I won’t work with them again and I won’t be on the same set with them again. That may sound tough and that may sound harsh, but if your only weapon in a fight is to withdraw your labor and someone blunts your sword for their own gain, then you have to realize the seriousness of that situation. It’s not fair to everyone around you, and you put everyone in that situation for your own gain, and I don’t fuck with people like that. **I love that there’s a line about scabs in “Union Dues.” A lot is really clearly stated.** That’s what I mean! All this music in 2021 is steeped in metaphor. I want you to listen to “Union Dues,” yeah, and I want it so even if you’re not trying to look for the meaning of the song, you cannot deny what this is about: “Please do not scab.” I didn’t want people to just skim over this. This is the topic of this song, I feel strongly about it, and I want you to feel strongly about it too. I’m gettin’ all heated, mate, you got me all worked up! **Hey likewise, this conversation has been empowering.** But this is what I mean, you should feel empowered! We are the people. We are the numbers. We have power in our numbers, and people are fucking convinced that we don’t, but we do. We need to clock that and realize it. We’re the ones that create the music, we’re the ones that create the articles, and fuck it, we should be paid. That’s a full stop. End of story. --- *see/saw is a reader-supported publication. If you enjoyed this article, please consider a* [*subscription*](https://see-saw.fun/ryan-davis-the-roadhouse-bands-mid-tour-hive-mind/#/portal/) *to support this independent punk journalism operation.* ### punk this week podcast 15: mega x + heather the jerk URL: https://see-saw.fun/punk-this-week-podcast-15-mega-x-heather-the-jerk/ Last updated: 2024-12-10T14:13:18.000Z ![audio-thumbnail](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/media/2024/12/punkthisweek15_mixdown_thumb.jpeg) punk this week 15: mega x + heather the jerk 0:00 /2761.224 1× Punk This Week *is see/saw’s weekly podcast from co-hosts Evan Minsker and Nina Corcoran, breaking down the latest releases in the world of punk rock. Each episode highlights two records with brief discussions of an additional four.* As the year winds down, Evan and Nina discuss some early December highlights including records by [MEGA X](https://kilikilivilla.bandcamp.com/album/from-the-outside?ref=see-saw.fun), [Heather the Jerk](https://heatherthejerk.bandcamp.com/album/not-very-motorcycle?ref=see-saw.fun), [Chat GRP](https://chatgrp.bandcamp.com/album/chat-gr-e-p?ref=see-saw.fun), [X2000](https://symphonyofdestruction.bandcamp.com/album/g-tico-tropical-lp?ref=see-saw.fun), [Adult Human Females](https://adulthumanfemales.bandcamp.com/album/live-at-tompkins-square-park?ref=see-saw.fun), and [Rude Television](https://rudetelevision.bandcamp.com/album/disconnect?ref=see-saw.fun). Next week, we’ll wrap up the year with an episode about some of our 2024 favorites. Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.fun). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/seesawdotfun/?ref=see-saw.fun) and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). --- Further linking: - [see/saw’s top 52 punk + rock'n'roll records of 2024 zine (featuring writing from Evan and Nina)](https://see-saw.fun/see-saws-top-52-punk-rocknroll-records-of-2024-a-zine/) - [Pitchfork’s 30 Best Rock Albums of 2024 by Nina and Madison Bloom](https://pitchfork.com/features/lists-and-guides/best-rock-albums-2024/?ref=see-saw.fun) - [video of Adult Human Females live at Tompkins Square Park](https://www.youtube.com/watch?v=vap8Q%5FrERQQ&t=2s&ref=see-saw.fun) - mentioned records by [DOG BUS](https://riprecords.bandcamp.com/album/demo-6?ref=see-saw.fun) and [the Apparition](https://totalpeace.bandcamp.com/album/verbrauch?ref=see-saw.fun) --- *Punk This Week* is made possible by see/saw subscribers; please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-14-benzin-impotentie/#/portal/) if you enjoy this podcast and tell one friend about us. ### see/saw’s top 52 punk + rock'n'roll records of 2024: a zine URL: https://see-saw.fun/see-saws-top-52-punk-rocknroll-records-of-2024-a-zine/ Last updated: 2024-12-09T14:21:13.000Z see/saw was started as an expression of love for a specific kind of wild and bizarre punk + rock'n'roll music. It became an art practice and exercise in community. Very early on, I envisioned making this zine—the culmination of months obsessing over wonderfully intense records. see/saw’s top 52 punk + rock'n'roll records of 2024 is a newsprint broadsheet that won’t be published online. Art directed by John F. Malta, it’s got a big beautiful piece of artwork on one side and a top 52 list on the other with blurbs by David Anthony, Colette Arrand, Ben Blackwell, Nina Corcoran, Martin Douglas, Gem Fair, Allison Hussey, Chris Landry, Christina Pap, Jenn Pelly, Liz Pelly, Matthew Ismael Ruiz, Sydney Salk, Tom Scharpling, Maria Sherman, Fred Thomas, Cody Triplett, and me. I can’t guarantee these will ship in time for the holiday, but the first 100 are shipping on or around 12/20\. More will be printed to meet demand. [Place your order!](https://see-sawdotfun.myshopify.com/products/see-saw-s-top-52-punk-rocknroll-records-of-2024?ref=see-saw.fun) ![art direction by John F. Malta; writing by David Anthony, Colette Arrand, Ben Blackwell, Nina Corcoran, Martin Douglas, Gem Fair, Allison Hussey, Chris Landry, Evan Minsker, Christina Pap, Jenn Pelly, Liz Pelly, Matthew Ismael Ruiz, Sydney Salk, Tom Scharpling, Maria Sherman, Fred Thomas, Cody Triplett](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/12/text.jpeg) ### punk this week: heather the jerk, x2000, zap pack + 8 more URL: https://see-saw.fun/punk-this-week-heather-the-jerk-x2000-zap-pack-8-more/ Last updated: 2024-12-06T21:31:08.000Z Welcome to [Punk This Week](https://see-saw.fun/punk-this-week-fentanyl-satanic-togas-7-more/), see/saw’s weekly column exploring the latest and greatest punk and rock’n’roll records. It’s a Bandcamp Friday, which means there’s a deluge of sick new punk releases. There’s a new one from Madison’s Heather the Jerk, the debut full-length from X2000, a stellar release from Idaho’s Zap Pack, and new stuff from the forever reliable Goodbye Boozy Records. In total, this week’s column links to 24 new releases. Holy shit! Do you want to read about *all* of those records? Punk This Week is available to paid subscribers (and [those who barter](https://see-saw.fun/bartering/) their way across the paywall). Free subscribers still have access to interviews, podcasts, playlists, and other weekly posts. [Please consider a subscription](https://see-saw.fun/punk-this-week-impotentie-des-demonas-gem-5-more/#/portal/), free or paid, to help grow this reader-supported endeavor. --- **Heather the Jerk:** [***Not Very Motorcycle***](https://heatherthejerk.bandcamp.com/album/not-very-motorcycle?ref=see-saw.fun) **\[Certified PR\]** Madison’s Heather the Jerk, fronted by Heather Sawyer from the Hussy and Proud Parents, has a garage rock album with a bubblegum swoon. It’s called *Not Very Motorcycle*, and honestly, it’s not very motorcycle. It’s more convertible at a drive-in movie. Recorded by Tyler Fassnacht, it’s the rare record that utilizes the melodic toolbox of late ’50s pop while retaining a much more contemporary sneer and bite. The details are incredible on this record—the crunchiness of the synths, the perfect harmonies on “All I Know,” the scuzzy and blown out nature of the guitars. It’s beach music just in time for winter in Wisconsin. Also not very motorcycle! [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/12/a0397427610_10.jpg)](https://heatherthejerk.bandcamp.com/album/not-very-motorcycle?ref=see-saw.fun) --- _This post is for paying subscribers only._ ### punk this week podcast 14: benzin + impotentie URL: https://see-saw.fun/punk-this-week-podcast-14-benzin-impotentie/ Last updated: 2024-12-03T14:22:32.000Z ![audio-thumbnail](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/media/2024/12/punkthisweek14_mixdown_thumb.jpg) punk this week 14: benzin + impotentie 0:00 /2863.896 1× Punk This Week *is see/saw’s weekly podcast from co-hosts Evan Minsker and Nina Corcoran, breaking down the latest releases in the world of punk rock. Each episode highlights two records with brief discussions of an additional four.* In this post-Thanksgiving episode of *Punk This Week*, Evan and Nina give thanks for Benzin’s [*Treibjagd*](https://benzinbln.bandcamp.com/album/treibjagd?ref=see-saw.fun) and Impotentie’s [*Zonder Titel Deze Keer*](https://roachlegrecords.bandcamp.com/album/impotentie-zonder-titel-deze-keer?ref=see-saw.fun), plus Des Demonas’ [*Apocalyptic Boom! Boom!*](https://intheredrecords.com/products/des-demonas-s-t-copy?ref=see-saw.fun), the Civil War in France’s [*There You Are !*](https://thecivilwarinfrance.bandcamp.com/album/there-you-are?ref=see-saw.fun), Horsebastard’s [self-titled album](https://junglenoiserecords.bandcamp.com/album/horsebastard?ref=see-saw.fun), and Bobo’s [*Bootleg*](https://boboband.bandcamp.com/album/bootleg?ref=see-saw.fun). Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.fun). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/seesawdotfun/?ref=see-saw.fun) and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). --- Further linking: - [Des Demonas’ 2022 interview with *Washington City Paper*](https://washingtoncitypaper.com/article/572656/des-demonas-on-d-c-s-punk-future/?ref=see-saw.fun) - [The Civil War in France’s 2023 live session at WKDU](https://www.youtube.com/watch?v=%5FVWn%5FfFFOfk&ref=see-saw.fun) - [Bobo’s 2021 demo on Bad Rating Records](https://badratingrecords.bandcamp.com/album/bobo-demo?ref=see-saw.fun) --- *Punk This Week* is made possible by see/saw subscribers; please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-13-monda-data-unknown/#/portal/) if you enjoy this podcast and tell one friend about us. ### playlist: the best punk songs of november 2024 URL: https://see-saw.fun/playlist-the-best-punk-songs-of-november-2024/ Last updated: 2024-12-03T14:11:04.000Z It’s winter in Wisconsin. Snow’s covering the ground outside and my two-year-old is wondering why he has to wear a shirt. I’m trying to take more walks for my mental health. I’m trying not to post too much about how I’m feeling on Bluesky. It’s probably worth getting into some of it here, though. For better or worse, these monthly playlists serve as check-ins + personal reflection points. The year started really bad—the kind of shitty that still feels unshakeable sometimes. My way of coping, I think, has been to try and outrun it. Go to a ton of shows, do some interviews, co-host and edit a podcast every week, start a radio show, write a ton, make zines, and so on. I’m extremely proud of the work. I think it’s representative of who I am creatively. It’s very “fuck it, I can do whatever I want,” which is liberating in its way. People seem to like the work, so that’s definitely good. But when I think about the year to come, it just feels like a chaotic and unknowable mess. I’m approaching the anniversary of the layoff, so it’s a time of year that feels inherently fraught. I’m trying to focus on the day to day and week to week. Who knows what’s coming, but see/saw will be there. Punk records will be there. I’ll be here writing about them, slowly trying to find more and more people who enjoy this thing that I do. There’s a year end zine coming and a one-year anniversary show. I hope people like those things. I wrote a little Thanksgiving thank you note to everyone who subscribes. To reiterate: Your support this year really has meant the world. Here are some songs from the past month that I’ve loved. If you like this, please subscribe! I’ve written about most of these songs across the last month in my weekly column. The embedded playlist is in the browser, otherwise the link is below. [**the best punk songs of november 2024**](https://bndcmpr.co/c4c1d893?ref=see-saw.fun) Sonia: Sonia Visual Learner: Runaround (+39) 375-649-94-64 My Telephone Number: C’est Magique Cimitero: Seppelliscimi in Piedi Straw Man Army: Extinction Burst Miracle Debt: Attitude Problem Lavender Jets: Finding Peace (For Now) Qlowski: Desire No Drama: Papershop Henrik Appel: Shadows The Circulators: On the Loose Psychbike: The Rite Licklash: Slip Polyglots: A Cleansing Cure Mugger: Crank It Up Woolen Men: Change Life Z.O.R.G.: Lazer Curtain Waylon Thornton: Madhouse Father Head Wound: Air Koryo (Allow Me to Speak) Low Lying: Tethered Dream World: Vertigo Perfil Bajo: Tu interior Witch Piss: Brighton Front Piss Wizard: Mothman HONG!: Tamak Blenko: Unlucky Bag Marble Fields: 24 Hour Dreaming Poo Poo Talks: Party Poopers Monda: Ponderous Leviathan Body World: Eyes of the State Impotentie: Nat Vuile Land Lexan: Fun House GEM: Got It Right the First Time Bobo: Feedback VVM: Crucial Burger Las Tetas: The French Song Buckaroo: No Absolution Benzin: Die Idioten Larry and Thee Jerrys: Kicked in the Head (By Joe Davola) Government Sex: Life in the Death Lane Viscus: Numerical Emanation Kidder: 2nd Portion Fast Johnny and the Slow Burners: Dog Eat Dog Dog Bus: Motion Ghost The Unfit: Gatekeepers Data Unknown: European Locals Ack Attack: Ack of the Shoe Human Paste: Alt-Right Said Fred Snuki: Diehard Townie Gun Leash: Carbine Bart and the Brats: What’s In It For Us? Variety: The Light Thank: Woke Frasier Johnny and the Rotten: Beat All Them Gobs SCRÜE: Tragedi Grocery Bag: No One Thirdface: Meander Brower: Hard Road Sex Mex: I Love Everyone IGNORANCE: Dull Mind Night Court: Miranda July PAPRIKA: Catatonic Pisser Second Death: Inanity D.U.I.: Shut Up ### punk this week: impotentie, des demonas, gem + 5 more URL: https://see-saw.fun/punk-this-week-impotentie-des-demonas-gem-5-more/ Last updated: 2024-11-29T19:00:38.000Z Welcome to [Punk This Week](https://see-saw.fun/punk-this-week-fentanyl-satanic-togas-7-more/), see/saw’s weekly column exploring the latest and greatest punk and rock’n’roll records. It’s Thanksgiving weekend, and we’ve got a column headlined by the new one from Impotentie. There’s also new ones from Des Demonas, Bobo, VVM, and a bunch more. Free subscribers get the first blurb, but would you like to read every single one of them every week? Punk This Week is available to paid subscribers (and [those who barter](https://see-saw.fun/bartering/) their way across the paywall). Free subscribers still have access to interviews, podcasts, playlists, and other weekly posts. [Please consider a subscription](https://see-saw.fun/punk-this-week-monda-dog-bus-poo-poo-talks-7-more/#/portal/), free or paid, to help grow this reader-supported endeavor. --- **Impotentie:** [***Zonder Titel Deze Keer***](https://roachlegrecords.bandcamp.com/album/impotentie-zonder-titel-deze-keer?ref=see-saw.fun) **\[RoachLeg\]** Impotentie is a trio featuring members of S.H.I.T., Stigmatism, Justice, Dead Stop, Glue, Institute, Secretors, and Hysteric Polemix. It’s a post-punk record dripping with ’80s gloom and defined by Oi! vocals. The most palpably upbeat song on the record is “Nat Vuile Land,” which is about fucking hating it here. It’s a record staring down the rise of fascism without any sign of revolution on the horizon. Impotentie shout about the frustration around the act of shouting, like what they’re doing with words will never be enough if those words don’t prompt action. (All profits from digital sales go to [Palestine Action](https://palestineaction.org/?ref=see-saw.fun).) [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/11/a0632345357_10-1.jpg)](https://roachlegrecords.bandcamp.com/album/impotentie-zonder-titel-deze-keer?ref=see-saw.fun) _This post is for paying subscribers only._ ### punk this week podcast 13: monda + data unknown URL: https://see-saw.fun/punk-this-week-podcast-13-monda-data-unknown/ Last updated: 2024-11-26T13:45:51.000Z ![audio-thumbnail](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/media/2024/11/punk-this-week-13_mixdown_thumb.jpeg) punk this week 13: monda + data unknown 0:00 /2576.112 1× Punk This Week *is see/saw’s weekly podcast from co-hosts Evan Minsker and Nina Corcoran, breaking down the latest releases in the world of punk rock. Each episode highlights two records with brief discussions of an additional four.* It’s the thirteenth episode of *Punk This Week*! Evan and Nina dig into some scrappy excellence they unearthed from the past few days, including Monda’s [*Ponderous Leviathan*](https://monda-nj.bandcamp.com/album/ponderous-leviathan?ref=see-saw.fun), Data Unknown’s [*You Are Not Data Unknown?*](https://dataunknown.bandcamp.com/album/you-are-not-data-unknown?ref=see-saw.fun), You Should Be With Us’ [*In Plain Sight*](https://delayedgratificationrecords.bandcamp.com/album/in-plain-sight?ref=see-saw.fun), Lexan’s [*Demo II*](https://lexan.bandcamp.com/album/demo-ii?ref=see-saw.fun), Unfortunate’s [*heaven on earth, left in flames, can my violence conquer yours?*](https://unfortunatetx.bandcamp.com/album/heaven-on-earth-left-in-flames-can-my-violence-conquer-yours?ref=see-saw.fun), and the pocket monster punk of [Ack Attack](https://acknslashrecords.bandcamp.com/album/ack-attack?ref=see-saw.fun). Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.fun). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/seesawdotfun/?ref=see-saw.fun) and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). --- Further linking: - Miskabeee’s [Ack Universe](https://miskabeee.bigcartel.com/ack-universe?ref=see-saw.fun) - [Poo Poo Talks’ *Demoo*](https://poopootalks.bandcamp.com/album/demoo?ref=see-saw.fun) --- *Punk This Week* is made possible by see/saw subscribers; please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-12-straw-man-army-heart-to-gold/#/portal/) if you enjoy this podcast and tell one friend about us. ### ryan davis & the roadhouse band’s mid-tour hive mind URL: https://see-saw.fun/ryan-davis-the-roadhouse-bands-mid-tour-hive-mind/ Last updated: 2024-11-25T14:27:29.000Z Seven people exited a van outside of [Brewery Nønic](https://www.brewerynonic.com/?ref=see-saw.fun) in Menomonie, Wisconsin—an old train station and one of the Chippewa Valley’s best spots. It was October 13, the first day to really feel like fall out here, when Ryan Davis & the Roadhouse Band rolled up. They stopped on their way to a show in Eau Claire after playing Minneapolis the night before. The sets were supporting spots for MJ Lenderman, and it goes without saying, every night of that tour was an in-demand ticket. An always great Lenderman had become indie rock’s main character on the back of his near-universally beloved new album. As a massive bonus, the Roadhouse Band were tagging along. The Louisville singer-songwriter and his ragged and rootsy rock’n’roll band’s 2023 album [*Dancing on the Edge*](https://sophomorelounge.bandcamp.com/album/ryan-davis-the-roadhouse-band-dancing-on-the-edge?ref=see-saw.fun) is just an incredible collection of songwriting, and at the Stones Throw in Eau Claire, they played the hits—“Free From the Guillotine,” “Learn 2 Re-Luv,” and “Flashes of Orange” all just stunned. Davis wore a Samhain hoodie and red tuque with wide sunglasses dangling beneath his chin. With a full crew of incredible players crowding the small stage, the jams hewed close to the record’s loose and freewheeling nature; a warm and welcoming set by some truly real motherfuckers. After all six members of the band sat around a table in the back room at Nønic near the dartboard, pinball machine, and table of college students, it set in that all six members had ordered the same stout without coordinating. Just a few days into the tour, the Roadhouse band were operating on the same wavelength. They unanimously voted to meet for afternoon beer over coffee, for example. While the band’s lineup rotates, the people sitting around that table represent a constellation of musicians who identify as an extended family. They laugh at each other’s jokes, have a shorthand, and inspire each other to make shit. This is a conversation about creativity, community, and the joy of goofing off when there’s a hot mic present. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/11/a0327828919_10.jpg)](https://sophomorelounge.bandcamp.com/album/ryan-davis-the-roadhouse-band-dancing-on-the-edge?ref=see-saw.fun) **Let’s start by going around the table—everyone introduce themselves by talking about some of the different projects you’re involved in.** Ryan Davis: Sure, I’m Ryan Davis of the Roadhouse Band from Louisville, Kentucky. I run a label called Sophomore Lounge, and everybody involved here has had records come out on the label. Jim Marlowe: I’m Jim Marlowe, also of those things and places. Me and Ryan do another band called Equipment Pointed Ankh with Dan and Shutaro, who’s not here. He just moved back to Japan recently, but he’s a pretty integral part of all these things. Then Ryan and I did a band called Tropical Trash with Dan for years. Ryan Davis: I did a band called State Champion before this and Jim played with us for the last year or so of that, too. LT: I’m LT, which is short for Lou Turner. I’m from Nashville, and I play bass in the Roadhouse Band. Trevor Nikrant: I’m Trevor Nikrant from Nashville. I play pedal steel and some keyboard. LT and I have a band called Styrofoam Winos that has two records now. Those are very recent. LT: We do solo stuff, too, under our names. Trevor Nikrant: Styrofoam Winos is a Sophomore Lounge production. Ryan Davis: Contractually *chained* to Sophomore Lounge. Trevor Nikrant: For a 100-album contract. Ryan Davis: You didn’t even read that contract. Dan Davis: It was written in crayon. Christian DeRoeck: I’m Christian “Smokey” DeRoeck, based in Athens, Georgia, guitar and vocals. I play in a band called Little Gold, which is country rock stuff. I’ve got one LP and one 7” on Sophmore Lounge, Dan Davis: I’m Dan Davis, I’m based in West Virginia. I play bongos and electronics. I was in Equipment Pointed Ankh and Tropical Trash, and now I’m doing this. **Wait Dan Davis and Ryan Davis, no kin?** Dan Davis: No kin. Ryan Davis: No kin. Sometimes we lie about it. **You’re all geographically pretty spread out, so how did this band come together?** Ryan Davis: The record that’s out, *Dancing on the Edge*, was something I wrote at home alone as my first solo record. I demoed it out as such and started piecing together some ideas for how to do a studio recorded version of it. I brought some of these guys along, like Jim, who lives in Louisville. Dan ended up coming, he kind of surprised us. When it came time to do stuff live, we put our heads together and figured out people that might contribute to that scenario—people that would be good musically and fun to hang with. I’ve met all these people in different contexts over the years. We’re all just kind of homies so it naturally came together. **What’s the vibe on the road been like?** Ryan Davis: \[*everyone laughs*\] Man, just the hard questions right off the bat. No, it’s been amazing. I wanted to answer facetiously, but it’s been probably a little too much fun. The Lenderman crew’s so sweet and encouraging, and crowds have been cool. I think it’s a good pairing of bands in terms of a lot of their fans not having heard of but walking away with records at the end of the shows. **You’ve been in bands where you haven’t put your name up front; what was the decision like to have this band foreground your name?** Ryan Davis: I fought against it really hard. I was like, “I’m *not* gonna call this my name, I’ve got to come up with a band name.” I came up with a bunch of ideas and none of them really worked, and at a certain point, it felt arbitrary coming up with a random thing to call your band. At some point I had several people be like, “Why don’t you call it your name?” I was like, “*NO!*” Jim Marlowe: That is exactly how that conversation went. Ryan Davis: When I’m writing songs, I’m not writing songs about what I did with my day or how my feelings feel or anything. I’m writing as a sort of non-person, so it seems weird to attach my name to it. At the same time, we’ve made a lot of friends touring over the years and people know me. I make art and I had a fest and it’s like, “Oh, it’s Ryan. It’s his record. This is what he does.” It was like I might as well call it my name rather than, I don’t fucking know, make up something stupid and have to live with it. Like State Champion, for example. **Do you guys have new stuff beyond *Dancing on the Edge*?** Ryan Davis: Yeah, we were actually just listening to the record together for the first time. Half the band hadn’t heard it because different people play on it. We just in the last hour listened to most of the songs. We have a new record that we’re working on now that’s getting there. It needs some work. Half the people who play on the record live up in the Northeast where we made it, like in Rhode Island, which is where we made the first Tropical Trash record. We kind of have different factions. I think the idea is on this tour, we’re going to go to Emily Robb’s studio and get everybody in this version of the band to do some overdubs. It’s like 85% done; it won’t be out until next year. **With new shit around the corner, what’s your relationship like with these older songs you’ve been playing on tour?** Ryan Davis: It’s weird because we wrote all these songs, made this record, did some touring, and then I was like, “I think I’m gonna just keep a good thing going and write a bunch of new songs,” so then I was obsessed with not even thinking about the old ones—just writing the new ones and recording the new ones. Then when this tour came around it’s like, “Alright, I’ve gotta forget about the new ones and relearn all the old ones,” and then it’s gonna be back to weird chunks and cycles. Jim Marlowe: I do think having LT, Trevor, and Christian in the band, it’s got some new gas in the tank. **Wait, are you all drinking the same beer?** Entire band: Whoaaaaaa. \[*laughs and clinks glasses*\] Cheers! Dan Davis: It’s a chilly morning and we’re all kind of like, “Mmm, yeah!” LT: We didn’t even talk about it! That’s a good metaphor. Ryan Davis: Our lunar cycles are tuned in. Jim Marlowe: It’s like all the birds flying away at once. **That’s beautiful. I want to ask the folks who just heard those new songs—how do they feel?** Dan Davis: Being part of it but also being a fan, it sounds like a natural progression of Ryan’s tunes. Trevor Nikrant: It’s like a new tunnel in the same cave. **What are you all listening to in the van?** Ryan Davis: We started doing this thing called the Jam. Christian DeRoeck: It’s the only good thing Spotify has ever done, really. You can all link up and it’s an active, evolving playlist with everybody adding to it. Ryan Davis: *And you can do it on Spotify.* \[everybody laughs\] *Download the app today.* There’s a feature where we could link up with the Lenderman crew and they could join our jam and we could play songs for each other’s vans. LT: The Lenderman crew doesn’t have Spotify. Ryan Davis: We just outed ourselves as the weakest. We came on see/saw to promote Spotify. What have we been listening to? LT: What haven’t we been listening to? Ryan Davis: We started a drive at midnight and ended in Minneapolis at 5am the other night, and we were standing up in the van dancing for arts of it, listening to disco and trying to keep ourselves awake. **Can we talk about Sophomore Lounge specifically? Do you feel like you’re curating releases from within your circle?** Ryan Davis: Yeah, and when it first started, it was just friends of mine—me and whoever was making shit that didn’t really have a home for it and being cheerleaders for one another. Then you would met people on tour that were kind of in that same boat. You would say, “Alright, jump in with us. We’ll write Sophomore Lounge on your CD-Rs too and sell those at shows.” Now it’s gotten to a place where I’ve been doing it for 17 years where I just get sent so much stuff, and it’s stuff that I genuinely love and would love to be involved, but I just can’t do it. It’s not even the money, just the energy and time and resources. I don’t think I would be doing people any favors to take on the record only to be distracted on tour, not doing what I would be doing. At the end of the day for me, it feels like my extended family or something. **With the Roadhouse Band, how does this extended family factor into the creative process?** Ryan Davis: Specifically speaking to the Roadhouse Band, I wouldn’t say that any other person factors into how I’m actually writing the songs. But then as soon as that’s all etched in stone, I start thinking about people that could bring it to life and animate it. I would say that’s maybe the complete opposite of the Equipment Pointed Ankh stuff. Jim often refers to that as a Ouija board or something. It’s kind of like everybody’s guiding each other into the light or the darkness and seeing what comes from that. So it varies from project to project, but the family thing is important. This is the biggest tour I’ve ever been on, and I think having friends and family here makes it special. I’ve been on tours before where there was maybe some tension, or people didn’t know each other’s boundaries, and I just wanted people I could trust and love and get the job done. This was the move. **I was just talking to somebody about touring, how rare it is to get through especially international tours or long tours without having a fight or a quiet falling out. You really have to make sure everybody is comfortable with everybody in some capacity.** Ryan Davis: Yeah, I think a lot of that is getting older, too. When I was younger, everybody’s identity was wrapped into this creative thing. Whether it’s ego in a bad way or a good way, it’s ego nonetheless. It’s weird, you’re just making up songs, but it doesn’t fuckin’ matter. It’s completely pointless. To get so wrapped up and emotional about making music, it just seems unnecessary. Dan Davis: Like that’s *not* what it’s about. Ryan Davis: But when you’re 22 years old and someone’s like, “Oh, you should hit the road and get fucked up every night and just keep doing this stuff and just keep going hard,” of course something’s going to combust at a certain point. Whereas the older you get, you can say, “Dan hasn’t said anything today. Maybe he’s not feeling well. Maybe he’s homesick. Maybe he’s plotting to kill Christian.” I don’t know! We just let everybody do their thing. It’s a trust fall. Dan Davis: And the alchemy of this group that’s really cool, too, is that everybody does have their own thing—an individual kind of music thing that we are all here to cheerlead and lift up and support. We’re not wrapped up where it needs to be *my* show or *our* life. Ryan Davis: It helps keep the ego out of it. Dan Davis: And the trust fall thing is real. It’s a long time to spend with six people. We all just trust that if somebody needs something, we’ll speak up and we’re all here. ![Ryan Davis performs with Ryan Davis & the Roadhouse Band at the Stones Throw in Eau Claire](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/11/ryan-davis.jpg) Ryan Davis at the Stones Throw in Eau Claire; photo by Evan Minsker **You just played First Avenue in Minneapolis last night. How does it feel playing these bigger stages and rooms on the MJ Lenderman tour? Do you want that for yourselves?** Ryan Davis: Nothing about what’s happening, be it the success of *Dancing on the Edge* or getting to do this tour, is painting a new reality for me. It’s like, “Huh, that’s interesting. We get to play to 1600 people. Let’s go do that, then.” Then it’s like, “Oh, people like the record, cool.” But if they didn’t, I would probably just make another record. It’s part of why I wanted to make another record pretty quickly after the last one. I feel like if I didn’t get moving on it, I would blink my eyes and it’d be five years later. **Yeah, think about artists who release a masterpiece and then either go silent or go decades between records.** Ryan Davis: Lauryn Hill! We were just talking about that the other night in the van. How do you make this record and then it’s just silence? **That seems like such a boulder on a person.** Ryan Davis: Yeah, it can crush you. That’s why we didn’t want to be too delicate about it. If people don’t like this next one as much as the first one, that’s OK. Maybe they’ll like the third one. **Do you see the Roadhouse Band continuing at pace for a long time?** Ryan Davis: I don’t know. Just taking it as it comes. I had some ideas leftover from the stu from the first record, and that was enough to get going on the second one. Maybe the next stopping point I get to, I’ll feel charged to continue or maybe I’ll want to break. We also were working on a new Ankh record, Christian’s working on a new Little Gold record, \[Styrofoam Winos\] just had a record. The gears are always turning in some way, whether it’s Ryan Davis and the Roadhouse Band or not. It’s just kind of whoever feels like driving that day. Jim Marlowe: I think it’s also really useful for us. It’s good to do something else. If I just did one thing, I don’t think I would have any fucking ideas. **Do you find that creative momentum is self-driven, or do you feel like it helps to have friends always doing shit?** Jim Marlowe: I think it helps to have friends who are always doing shit. I also think, for me personally, it’s more of a compulsion to make something than a cathartic experience. That’s not part of my personal life. I just like to make stuff. Ryan Davis: For this band, my process is very, very internal for when I’m writing—almost to the point of lunacy. I’m in my own head and obsessed with all this stuff that has nothing to do with anything, but it’s all for the ultimate pleasure of sharing it with people and making magic happen in some new way down the road. I’m kind of an introvert when I’m at home. I’m self-driven, I just make all this stuff in my studio. The other half of my brain is this—I love hanging out with my friends and drinking beers and seeing new things and making erratic decisions. Christian DeRoeck: We do like those. Even though it’s not a scene in the sense that we all live in the same place, this crew and other folks too…like when I heard *Dancing on the Edge* I was like, “Oh fuck.” It made me want to write a better record because Ryan fucking crushed this. Ryan Davis: I can say the same about the Little Gold record. I’ve known Christian since 2010\. We played a show together in New York and just remained buds. He was telling the story last night: We were three State Champion albums in. He went from being like, “Oh, I like this band,” to, “Oh this is my family now.” You hang with the same people long enough and see what their vision is, and then you become part of it. Christian DeRoeck: It’s family. Jim Marlowe: It is family. That’s the other part of touring that’s awesome. We were just in Omaha and saw David Nance and all of his friends and family, and Emily Robb is a good friend of ours. There’s people in New England, like the Sunburned crew. There are so many people that you just do it for a long time and that’s the fun part of being on tour—seeing a family member. Ryan Davis: That’s the true beauty of America in terms of the subcultural element. America’s kind of a bad place to tour. People often treat you like shit and don’t care, and there’s not a lot for bands in the underground—not a lot of red carpets being rolled out compared to somewhere like Europe. But there are all these little pockets of wonderful amazing brilliant people, and the longer you do it, you can kind of connect all the dots on the map. It keeps your battery charged for the thing you’re talking about. **Do you work on songs on the road?** Ryan Davis: Jake Lenderman told me that he wrote a lot of stuff from *Manning Fireworks* on tour with Wednesday and stuff. That would literally be impossible for me. To write meaningful music of the same mental vein of what I do with this band, I could never do that. I need to be alone for days on end to do it. But it’s funny you ask, I was about to say it’s not creative at all because I can barely read a book in the van, but I just immediately remembered that last night at 3:30 a.m., we were recording new music at some guy’s house. **Roadhouse Band music?** Entire band: No. \[*laughs*\] Ryan Davis: A friend of ours that I kind of cut my teeth with, who did this band called Animal City that we toured with a bunch back in the State Champion days, had been working on a record with our friend we stayed with in Minneapolis. Dusty was like, “It would mean a lot to Dakota if you sang on a chorus or something,” so I’m like, “Fuckin’ plug me in man.” Then we ended up being like, “What other songs does he have?” We added all this shit that he didn’t even solicit. There was one song without lyrics and we were like, “There’s no lyrics at all? Can we write some?” **How do you think your unsolicited work will be received?** Ryan Davis: I think he’s gonna like ’em. Dan Davis: Positively, for sure. Christian DeRoeck: You don’t turn these down. --- *see/saw is a reader-supported publication. If you enjoyed this article, please consider a* [*subscription*](https://see-saw.fun/straw-man-army-reject-the-end-times-but-love-the-cemetery-2/#/portal/) *to support this independent punk journalism operation.* ### punk this week: monda, dog bus, poo poo talks + 7 more URL: https://see-saw.fun/punk-this-week-monda-dog-bus-poo-poo-talks-7-more/ Last updated: 2024-11-22T17:20:03.000Z Welcome to [Punk This Week](https://see-saw.fun/punk-this-week-fentanyl-satanic-togas-7-more/), see/saw’s weekly column exploring the latest and greatest punk and rock’n’roll records. We’re doing a deep dig this week into DIY demos, hardcore madness, basement jams, and an Italian band called Poo Poo Talks. You want to read all about all this wild and weird and awesome stuff out this week? Punk This Week is available to paid subscribers (and [those who barter](https://see-saw.fun/bartering/) their way across the paywall). Free subscribers still have access to interviews, podcasts, playlists, and other weekly posts. [Please consider a subscription](https://see-saw.fun/punk-this-week-bananagun-sgt-papers-bart-and-the-brats-8-more/#/portal/), free or paid, to help grow this reader-supported endeavor. --- **Monda:** [***Ponderous Leviathan***](https://monda-nj.bandcamp.com/album/ponderous-leviathan?ref=see-saw.fun) **\[self-released\]** This is the fourth Monda album that’s been released this year. It’s grim but propulsive basement punk out of New Jersey, and the title track helps give an inkling of the aesthetic: a churning and noisy seven-minute jam. There is indeed something both ponderous and massive about that song and this record. Monda has this ability to give the entire record a sprawl, where even the shorter songs bleed into each other as a kind of cohesive suite. There’s another good indicative track, “Kill Anything That Moves,” that opens at a trudge and picks up steam until it’s a total road warrior ripper. It’s punk for the patient—a rewarding listen the longer you sit with it. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/11/a4178840344_10.jpg)](https://monda-nj.bandcamp.com/album/ponderous-leviathan?ref=see-saw.fun) --- _This post is for paying subscribers only._ ### punk this week podcast 12: straw man army + heart to gold URL: https://see-saw.fun/punk-this-week-podcast-12-straw-man-army-heart-to-gold/ Last updated: 2024-11-19T14:09:52.000Z ![audio-thumbnail](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/media/2024/11/punkthisweek12_mixdown_thumb.jpg) punk this week 12: straw man army + heart to gold 0:00 /3197.616 1× Punk This Week *is see/saw’s weekly podcast from co-hosts Evan Minsker and Nina Corcoran, breaking down the latest releases in the world of punk rock. Each episode highlights two records with brief discussions of an additional four.* In episode 12 of *Punk This Week*, Evan and Nina discuss the new [Straw Man Army](https://d4mtlabsinc.bandcamp.com/album/earthworks?ref=see-saw.fun) album, the Will Yip-produced new one from Minneapolis’ [Heart to Gold](https://hearttogold.bandcamp.com/album/free-help?ref=see-saw.fun), and [the Circulators](https://thecirculators.bandcamp.com/album/insufficient-fun?ref=see-saw.fun)’ latest on Total Punk. There’s also new records from [Children’s Crusade](https://childrenscrusade1.bandcamp.com/album/a-duty-dance-with-death?ref=see-saw.fun) (a teenage post-punk project from Guided By Voices’ Doug Gillard), Finnish hardcore band [Ignorance](https://ironlungrecords.bandcamp.com/album/nothing-changed-lungs-278?ref=see-saw.fun), and Italian duo [(+39) 375-649-94-64 My Telephone Number](https://393756499464mytelephonenumber.bandcamp.com/album/album-1?ref=see-saw.fun). Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.fun). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun), [Bluesky](https://bsky.app/profile/ninacorcoran.bsky.social?ref=see-saw.fun), and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/seesawdotfun/?ref=see-saw.fun) and [Bluesky](https://bsky.app/profile/see-saw.fun?ref=see-saw.fun). --- Further linking: - [Straw Man Army interview in see/saw](https://see-saw.fun/straw-man-army-reject-the-end-times-but-love-the-cemetery-2/) - [Children’s Crusade interview in The Fire Note](https://thefirenote.com/features/doug-gillard-interview-childrens-crusade-guided-by-voices/?ref=see-saw.fun) --- *Punk This Week* is made possible by see/saw subscribers; please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-11-thirdface-miracle-debt/#/portal/) if you enjoy this podcast and tell one friend about us. ### straw man army reject the end times (but love the cemetery) URL: https://see-saw.fun/straw-man-army-reject-the-end-times-but-love-the-cemetery-2/ Last updated: 2024-11-18T14:30:17.000Z Owen Deutsch and Sean Fentress stood at the gates of Greenwood Cemetery in Brooklyn, just a few weeks before the release of Straw Man Army’s new album,[*Earthworks*](https://lavidaesunmus.bandcamp.com/album/earthworks?ref=see-saw.fun). Unlike most bands on the eve of a highly anticipated release, the duo were in good spirits, Sean citing their practice of meditation and regular time spent in Greenwood. It was the band’s idea to meet there, as it had become habit for them to walk the grounds at least once a week—a peaceful refuge from the city and its daily noise. Straw Man Army’s debut, 2020’s [*Age of Exile*](https://d4mtlabsinc.bandcamp.com/album/age-of-exile?ref=see-saw.fun)*,* marked the first in a trilogy on Western failures, first struggling with the legacy of colonialism. The second album, 2022’s [*SOS*](https://lavidaesunmus.bandcamp.com/album/sos?ref=see-saw.fun)*,* came as a result of the pandemic, based on the present state of “tech COVID nausea, as Sean put it.” The conclusion is *Earthworks,* the future-facing album, a natural progression for the band but a foreboding one for society at large. The duo are both well-spoken and tall, Sean with lots of hair, and Owen with less. Sean wears a studded denim jacket and Owen a leather biker, same as me. His has a Crass button. “Someone who likes Straw Man Army works with Crass and gave Penny Rimbaud an advance listen to the new album,” said Owen. “He was like, ‘Hey I think these lads are onto something, it’s not the sort of thing I listen to now but it’s probably the sort of thing I would have put on Crass Records.’ And that’s just all you’ve ever wanted to hear.” As a band, their sound is inspired by punk’s great experimenters: This Heat, the Pop Group, but also CAN and Pink Floyd, a love of which the two bonded over after meeting in high school outside of Chicago. Their formative moments were spent playing covers in their parents’ basements. “Honestly it didn't even cross our minds to go, let’s start a band and get our names in there. It was truly just playing together for many years,” said Sean. Once Owen moved to New York and joined the hardcore band Kaleidoscope it was inevitable that Sean would follow suit. After a friend encouraged the duo to release their demos, Straw Man Army reached its proper form. “It was a long time coming, many years in the making,” said Owen. “We found a sweet spot to be ourselves, where we can come together without changing who we are at all.” The two seemed at home in the cemetery, giving me a personal tour of their favorite graves. We eschewed marked trails in favor of hills, romping through grounds that mark decay for some, but life for the band, who noted great poetry and artwork for future etchings. One headstone was engraved: NO POWER IN THE VERSE CAN STOP ME MILES CLAUDE CALVERT 17 OCT 2005 - 14 OCT 2005 A life that lasted negative three days. We settled on top of a sun-drenched mausoleum to chat about the album, and for 45 minutes, while discussing the impending doom of global warming and social strife, the world felt at peace. It was too good to be true, as the wind rendered most of the audio unintelligible. (These are the struggles of journalism the experts don’t warn you about.) But Sean and Owen are class acts and were kind enough to later rehash the missing answers while it was still fresh in their minds. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/11/a0180759035_10.jpg)](https://lavidaesunmus.bandcamp.com/album/earthworks?ref=see-saw.fun) ***Earthworks* is the final album in your trilogy on what I’m calling Western failures. When you wrote the first of this group, 2020’s *Age of Exile*, did you have a vision for where the story would go or has it developed over time?** Owen Deutsch: I like that you call it Western failures. “The myth of the West/face down in our debts” is something we look at every day and are asked to reconsider. When we wrote *Age of Exile* there wasn’t such a long-range intention. We were spurred on by a feeling that the world around us, specifically the landscape around us, was haunted by the past—by genocide and theft and lost wisdom. We wanted to explore that notion through music and deliver a feeling. I think the feeling ended up being tender and angry. When we wrote *SOS* we were responding to the crisis of 2020 and 2022\. The present moment is the crucible for the expanding complexity of the past and the shrinking of the future. That made us feel like this was going to be a trilogy based on temporality. Trying to understand time and ourselves in it. So *Earthworks* had to set its sights on the future, or at least address it open-eyed. Sean Fentress: Yeah it wasn’t until we were writing *SOS* that this three-times trilogy model—past, present, and future—came into focus as a natural direction for a third LP to continue in. Our hope is that the future gaze held in *Earthworks* is clear but not heavy-handed. **What was it like to have your 2022 album *SOS* blow up as much as it did? Did you feel pressure to match that same level of hype on this album?** Owen Deutsch: It was weird. We have no real internet presence. I’ve never been on Instagram. I’m just hoping people in the music scene and friends are sharing it around. And that’s sort of what the press amounted to: enough people in DIY music who cared to share their thoughts on it. It just reached the right people to get some press. I certainly care about people hearing it. I feel I’m lucky to care because one of the goals with Straw Man Army is to connect with people emotionally. That’s important to me. As for matching the hype on *Earthworks*, I just want it to feel like it develops the trilogy and demonstrates growth. A shift in scope and scale. What comes after is up to how people connect with it. Sean Fentress: The shine *SOS* got from a few platforms that reach way outside our microcosm was mystifying to us, but also exciting. Like Owen said, we want people to hear these songs. I’d say we experienced some minor head trips around *Earthworks* living up to the first two LPs, but in the process of recording pretty quickly came to rest in feeling this was a record we could be proud of. I personally think it’s our strongest yet. **What were some of your literary and critical references when crafting *Earthworks* and its political ideology?** Owen Deutsch: The important texts for me on *Earthworks* were Phil Neel’s *Hinterland* and *Breathing* by Franco “Bifo” Berardi. *Hinterland* tells a kind of cosmic story about the transformation of the physical and social landscapes of capitalism through the figure of sprawl, rust belts, flight, and investment. It helped me think about territories of the market and their inscription on the land. Incredible images in that book make you want to move through the world with a poetic lens. Stories of urban squatting, mudslides, the new fire and disaster economies of the northwest, and the shifting “gods” in this frontier of capitalism. Bifo’s *Breathing* helped me understand, to quote our own band \[*laughs*\], “The rhythm of breath/the rhythm of sudden death” and the dissolution of attention into languid, fugitive streams of dispersal. We are forgetting how to breathe when the rhythm of finance has shaken our bodies into new kinds of organisms. Panic and chaos. Additionally, I loved reading Pascal Quignard’s *Roving Shadows* and *Hatred of Music*, check those out. Sean Fentress: I’ll just add that I’ve been studying Tibetan Buddhism for the past few years, and tried to bring ideas from that tradition into *Earthworks*. For example, our fundamental confusion as something to be first acknowledged, and then skillfully transmuted, so that we can offer something more to the world. Attempt to at least. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/11/straw-man-army-2.jpg) **“Extinction Burst” was the other single, a chant on the end times, tell me about how this one came to be.** Owen Deutsch: I guess we refuse the idea of the end times. An extinction burst is a term I found after typing in “things get worse before they get better” into Google. I was trying to understand the mystery there—the need to make good work with bad news. Extinction burst came up as a term in child psychology referring to a temporary increase in the intensity, duration, or frequency of an unwanted behavior that occurs when reinforcement is removed. It's a part of the extinction process, which is used to reduce or stop behaviors that have been rewarded in the past. This is what we called the “storm before the calm.” Like a kid with candy taken away, the world is enacting a tantrum, where genocide and ecocide and fascism are its desperate actions, and we want to believe this is a death rattle of a dying order. Sean Fentress: There’s a hopefulness in “Extinction Burst” that I hope comes through. That’s what we *hope* we’re seeing in all these unbearably bleak and painful realities unfolding on Earth today. **I’m interested in “Staring at the Sun” because this track addresses New York directly: “A charnel ground/a wound that blooms and claws the sky.”** Sean Fentress: The charnel ground is historically where people dispose of their dead, cemeteries, cremation grounds, etc. Over time it evolved to convey any space that repels or inspires fear, places where suffering and decay are highly visible. There is a tradition in Tibetan Buddhism of doing one’s practice in charnel grounds precisely because of the fear; you lean into the aversion. There are beautiful practices around making offerings to the surrounding spiritual ecosystem, hungry ghosts, and lost spirits, hoping to satiate forgotten beings and move stuck energy. Owen Deutsch: We wanted to address our surroundings. National Guard in the subway, Eric Adams’ policing, his public disinvestment. The anti-human agenda of the real estate market. The engineering of suffering that makes this city a charnel ground, in the sense that it plays home to so much death, to suffering, and is a kind of stage for a particularly American blindness. I don’t mean physical vision as much as spiritual. Our hunger for self-help and wellness markets has certainly increased as the shadow of occupation and incarceration has deepened across the country and across the globe. I think there must be a relationship between this commercial focus on personal “liberation” against the erosion of collective power and the undermining of people’s movements. **“Blueprint” was included in the recent Peace of Mind in A Troubled World compilation for Palestine. Was that a demo? How did you get involved with that comp?** Owen Deutsch: “Blueprint” is one of our many Garageband experiments! From the land of our movie scoring ambitions that ended up on our album *Her Majesty’s Ship OST* which was a soundtrack to Charles Darwin’s *The* *Voyage of the Beagle*. We need to make music when we can’t get in the studio so we do a lot of sampling and “Blueprint” is one of those tracks which came out of messing about on the computer. I got involved with Peace of Mind because they’re close homies and I recorded a bunch of those bands and the songs on the comp at D4MT LABS: Flower, SMT, Love & Compassion, etc. We asked if we could set the mood for the comp with our version of an NYC soundtrack. **“Spiral” from the new album is also on that comp, and I think the lyrics make the message pretty clear: “NYPD, KKK, IDF, they’re all the same.” Do you want to expand on this one?** Sean Fentress: The spiral of violence was one of the first big images in our embryonic notes for *Earthworks* lyrics. Can our species reverse the orbit of what is clearly a path to total destruction? It’s a choice and it’s always been. Owen Deutsch: I grew up Jewish and part of a reform temple. We met in different community centers so as not to have a permanent home. This is my ingrained view of Judaism (though I’m not practicing), as a roaming spirituality, and I think any attempt to occupy and forcibly displace (i.e. Zionism) is another name for ethnic cleansing and colonial activity. Naming is a powerful matter. We’ve heard that chant in the streets. It rings true that all three acronyms are at the service of mostly white settlers’ goal to control the narratives of crime and belonging, mete out punishment, and to create their enemy in the image of their obstacle to the fantasies of purity and ownership. The key part of the lyric you're missing is that we say: “They’re all the same/just different names.” We gotta call it what it is. Where is the lie? **Is there a particular song you’re most excited for people to hear?** Sean Fentress: I’m excited for folks to hear the last two, “Turn the Wheel” and “Earthworks”. There’s an emotional release in that pair that I hope is as cathartic for listeners as it is for us. Owen Deutsch: I want people to experience the end of “Downwind” and feel the movement from chaos to peace. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/11/straw-man-army-3.jpg) **Are the cover visuals all done by you two?** Owen Deutsch: Yes! We had many ideas about art. All three covers for this trilogy were to be landscape images, to invoke our sense of haunted landscape and to project the depths of time. We went up to our friend Dave’s farm in Liberty, New York and got stoned and painted all these boards from a collapsed barn. We made an “earthwork” in the land-art sense, but also a kind of Straw Man Army graveyard. We were able to keep it punk but make it lush and oblique. I like looking at it. Sean Fentress: Just a fun fact, the skinny wooden plank figures standing in a field is one of those art visions that we first started imagining years before there was a Straw Man Army, as teens in my parents’ basement. It’s a rare joy when an idea hovers in the ether for 10 years and then one day comes into form. **Once the album comes out, what’s next for Straw Man Army?** Owen Deutsch: Great question. This is what we do together. And it's spiritually rewarding to make this music and think through our personal and collective lives with this music, or attempt to. But really we would love to score movies. Hit us up for that, please. Sean Fentress: I’m excited to cut the leash to this trio of albums, explore other realms, be playful, write and record on the spot instead of baking songs for a year or more. And yes, please let us score your film. --- *Sydney Salk’s work has appeared in* [*Paperface*](https://www.instagram.com/paperfacezine/?ref=see-saw.fun)*; find Sydney on* [*Instagram*](https://www.instagram.com/sydney.salk/?ref=see-saw.fun)*.* *see/saw is a reader-supported publication. If you enjoyed this article, please consider a* [*subscription*](https://see-saw.fun/day-residue-are-frustrated-meticulous-punks-from-detroit/#/portal/) *to support this independent punk journalism operation.* ### day residue are frustrated + meticulous punks from detroit URL: https://see-saw.fun/day-residue-are-frustrated-meticulous-punks-from-detroit/ Last updated: 2024-11-11T14:43:34.000Z [Day Residue](https://dayresidue0.bandcamp.com/?ref=see-saw.fun) make bristly punk driven by feelings of dissatisfaction and daily existential horrors, their chaotic sounds blueprinted in exacting measure. This has been more or less the Detroit band’s design since it started in late 2020 as a deep pandemic recording project between friends Cree Cree and Aleahia Thompson. At that point Cree Cree (sometimes known as Chris Campbell) had been active in Detroit’s circles of caustic and experimental rock bands for a while at that point, notably with Terrible Twos and sometimes a participant in the Johnny Ill Band, Timmy’s Organism, and occasionally doing shows with an exceptionally good solo synth project. Thompson was brand new to music, but jumped all the way in anyway, starting two separate two-piece punk projects within days of each other. Dazed all-night demo sessions organically grew into a full-on band, the lineup rounded out by Isaac Fink and Ryan Clancy. They sharpened as they grew but kept the oblong weirdness of the band’s beginnings at their core. I spoke to Day Residue’s co-founders about their origins and creative process, and how they’re motivated by impatience and pushing back against the barrage of terror. **How and when did the band get started?** AT: December of 2020 was our first practice. I kept asking \[Cree Cree\] to be in my all-girl punk band. My other band Rough Patch and Day Residue started a week apart, so that band’s first practice happened and then Day Residue started getting together to work on demos. CC: We also lived a block away from each other. It was a good time to go through the growing pains of starting a new band. This is 2020, we were neighbors, and we literally had nothing to do. We were in each other’s COVID bubble. **So wait, did you ask Cree Cree to join Rough Patch at first?** AT: No, I wanted an all-girl punk band basically since I was a kid, and obviously he \[not a girl\] isn’t gonna be part of an all-girl punk band. I knew I was going to start these two different things and they were always going to be separate. Rough Patch was different and it was really nice for me to have those different connections. It was like the two of us will do one thing, and me and Anne will do something else. **Did Day Residue start out as a duo as well?** CC: Yes, for the first year probably. AT: The first drummer joined in April \[2021\]. CC: The impetus began with Aleahia and I recording with drum machine, four-track, sometimes an iPad or a phone. We both kind of played and programmed whatever. We went through a lot of songs in the beginning. There’s only one song from that original batch that we still play, the first song we ever wrote, “Company Man.” We tried a bunch of weird shit and would record for hours. So it started like that. At that time, though, we felt like what’s the point of getting together a full band when there are no shows happening. And also, we wanted to make sure we were doing it right. We were learning a lot at the time. **Aleahia, were these your first bands?** AT: Yeah. **But Cree Cree, you’ve been in a lot of bands over the years.** CC: Towards the end of Terrible Twos, a band I was involved with for a long time, I was pretty burned out on the guitar. I felt like I didn’t really know how to do something interesting to me or that didn’t sound like I'd already done it or someone else had done it. Basically I wasn’t feeling l attached to the instrument for the first time in my life. At some point I realized what was bothering me was that I couldn't do what I wanted to, what I was hearing. So I got really into the idea of being expressive on guitar. That started during COVID. I was just sitting around playing guitar all the time. That happened to coincide with me moving a block away from Aleahia, so the timing was kind of perfect. It was like “I’m excited about playing guitar again. You want to start a punk band with me? Let’s go.” [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/11/a2962574816_10.jpg)](https://dayresidue0.bandcamp.com/album/deadly-walk?ref=see-saw.fun) **Had you two been friends before?** CC: Yeah, we were already hanging out and partying or whatever. We talked a few times about playing music and then it was like, okay, there's literally nothing to do. We’d better do this. **Where does the name come from?** CC: The name Day Residue came from a book about dreams I saw at someone’s house years ago and mentally noted that would make a cool band name. It describes when content from your day ends up in your dreams later that night. **Tell me about the transition from hanging out and jamming for hours to putting together a live band. How long were you in that beginning phase before it became a full group?** CC: We never jammed. Ever. AT: We basically both had a bunch of songs ready. Like our own demos. CC: In the recording process we would just add additional layers to each other’s songs. It was never like we would jam until it became a song. It was more like “This is how it goes, okay let’s record the drum thing. Bam.” There was a lot of recording and arranging at the same time. I thought it was really important to get everything done quickly rather than waiting for the magic to happen. \[All laugh\] Kind of like, okay, you have an idea. Let’s expand on that. **Hyperproductivity.** CC: Yeah. Both of us are pretty impatient, too. AT: \[*enthusiastic agreement*\] Yeaaaaaahhh. **So when did it go from that collaborative writing and demoing to becoming a full band?** AT: It wasn’t super long at all. CC: Our original drummer Scott Dunkerley, from the Frustrations, Timmy’s Organism, etc. We did a few practices with him when he had just moved back to Michigan. It was cool timing because he wasn’t in a super active band at that point. AT: Isaac joined a few months after Scott. CC: I felt like it was super important that we liked being around the people we were in a band with. Isaac was one of the few people I knew who was hip to certain punk stuff, and just an awesome person to hang out with, so I asked him. I had to kind of pull his arm a little bit. AT: He was nervous about playing guitar, right? CC: I had assumed he was a guitar player, but he was actually a bass player. AT: That was like a half a year after we started recording. Those two joined in April, or May of 2021 and we played our first show in November of that year. CC: So it was like six months of demoing and then Isaac and Scott joined. Over time it’s become like Aleahia and I write and record a demo and then bring it to the band. AT: We’ve tried other ways, too. CC: There have been some happy accidents, but generally it’s like, “Here’s the song, let’s learn it.” Sometimes writing other people’s parts, sometimes not. AT: I think it’s easier that way, and it’s faster that way. As an impatient person. \[*laughs*\] **The creative core is you two, individually? Do you always write separately?** AT: Sometimes we write together. CC: We do both, separate, together. No matter what, we’re always changing each other’s songs a little bit. When she sends something to me, it’s usually an additive thing where I’m adding things. If I send something to Aleahia, it’s the reverse, where she’s cutting things out. I tend to have too many ideas and with her stuff.. AT: I’m a simple bitch. \[*laughs*\] CC: I’m always trying to make \[her songs\] a little bit longer. **You just finished some of your first tours.** CC: We’ve done a couple of short tours. Like weekenders or week-long tours. We intend on doing more. **How’d they go?** CC: Great! It was Aleahia’s first time doing it. AT: Yeah, first time touring at all. **What were some highs or lows from the experience?** AT: We went to Cleveland Art Museum and that was sick. I had a great time. The low was the first tour when our car was scraping and I had to go to an auto repair place early as fuck in the morning and spend all day doing that until we had to go on the road to the next show. **Classic.** AT: Yeah. That was really rough. **You have a couple of tape releases out already. Are you working on a full length?** CC: So that's what we were working on today. AT: That's why we were late, sorry! We were recording. \[*laughs*\] **Is it still decidedly self-contained? Still recording yourselves?** AT: Vocally wise. CC: The first two EPs that came out were a full-band production thing where everyone kind of was chipping in their input on the recording but we did it all ourselves. This time it’s a little more confusing. We recorded some of the music, and a friend of Isaac’s has been engineering, and then Cam Frank’s going to help us finish the instrumentals for the last four songs. Aleahia and I are recording our own vocals. The idea was to spend a lot of time on the vocals and not feel like we’re on the clock. AT: Comfortable. CC: Cause we don’t care what each other thinks. **So it sounds like you have help but it’s still an internal affair.** CC: Yes. **A patchwork recording that still keeps the control issues front and center?** CC: Yes, definitely. I have a lot of those. AT: I just can't perform well if I'm uncomfortable in any way. I've tried to work with it and I realized for me to not hate everything, I have to create the environment that will help me. Because I just shut down. CC: I also feel like…you know that point when you're recording and you get to the loopy point where you feel crazy? That’s when we hit our magic points: When we’ve been doing it for too long. We’ve definitely had a lot of times when it’s been seven in the morning, and we’ve been smoking weed and recording all night and that’s when we make something we end up being really proud of. AT: Slaphappy tracks. CC: So the goal is to do our own vocals so we can get to that point on our own. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/11/a1415141780_10.jpg)](https://dayresidue0.bandcamp.com/album/day-residue?ref=see-saw.fun) **Detroit’s scenes are pretty divided. The impression I’ve always gotten is that the Detroit punk scene is pretty separate from the scene of folks who are associated more with playing garage rock or noise or whatever else without too much overlap. What other bands do you feel are part of the present-day Detroit punk movement?** CC: I think we're an interesting band in that sense, though, because the two of us have been kind of a fixture about town in a way that crosses over various music genres, like whether we're working at a show, we're playing an event, whatever it may be. Because of that social overlap we find ourselves on these shows that are kind of strange where we're playing in between like a techno DJ and a band like Double Winter or something. Because we intersect with a lot of crowds, we sometimes are the token punk band in some ways. **Do you ever find yourself in a show where you're like: “Fuck, I don't know any of these people. All these bands are crazy punk bands from Detroit.”** CC: Well, I found us playing shows where I don't know people, which is awesome, which is the goal really. We’ve definitely been playing more shows that are like, total punk shows. Bands like Werewolf Jones, 208, Fen Fen, Womb Worm. AT: Morbid Cunt. When I hear the question “who are the punk bands right now” I read that as like, what are some aggro bands, cause that’s normally what I’m looking for and I don’t really find it a lot. I’m wondering also! Maybe I’m biased because I’m emotionally off-kilter all the time and I’m always looking for something crazy sounding. CC: I have a hard time with genres and do my best not to think of music in those terms. AT: I also do. There's a lot of just *fun* bands. Party bands. CC: That's a good point. I do sometimes feel like we're out on an island. We do come off a little more serious, I feel like. **Are the songs serious? Is there an element of political energy to them?** AT: Yeah, I would say it's unavoidable. Personally, when I'm writing, I'm reflecting on everything that's upsetting me. My primary recurring theme is being upset with dealing with horrific shit nonstop. Like a barrage of terror all the time and you're expected to just act like nothing is happening and just continue not only to exist and function, but to act like you're happy about it. Like the amount of people who are weirded out when I'm like, “Oh, I'm OK.” And they're like, “Just OK?” You fucking better be glad I didn't say I'm feeling terrible. Are you kidding me? It's just that. It's the show of things, like putting on a face, which is unnecessary and insulting. And that spans a lot of different things, like the way everything is functioning. Why were people working during a fucking pandemic? Why did they feel forced to? Why don't businesses shut down in support of Palestine? Why is work more important than people’s wellbeing? It's hard that there’s such a pushback to even express that you are upset with something. People think it's wrong to tell the truth. CC: We’re also poking fun at our community in a way. Like maybe the flip side of things is like people fighting for the wrong things and pretending to be righteous about things that don't actually matter. Like poking fun of that, but also saying what's happening in the bigger picture is garbage. But also that the way people are dealing with it may be stupid. AT: There's a lack of care about like so many things, and I just – I can't avoid complaining about it. It's upsetting. At my job as a bartender, it's constantly in my face; pretend, pretend. **You get paid to make terrible people feel like they're not terrible.** AT: Yeah. \[*laughs*\] I'm there to remind them that things are bad still. Hope you're having fun though! Enjoy your night. \[*laughs*\] --- *Fred Thomas just released his new album* [Window in the Rhythm](https://fredthomasmusic.bandcamp.com/album/window-in-the-rhythm?ref=see-saw.fun). *Go check it out.* *see/saw is a reader-supported publication. If you enjoyed this article, please consider a* [*subscription*](https://see-saw.fun/in-the-van-with-s-h-i-t-in-japan/#/portal/) *to support this independent punk journalism operation.* ### punk this week: bananagun, sgt. papers, bart and the brats + 8 more URL: https://see-saw.fun/punk-this-week-bananagun-sgt-papers-bart-and-the-brats-8-more/ Last updated: 2024-11-08T18:43:15.000Z Welcome to [Punk This Week](https://see-saw.fun/punk-this-week-fentanyl-satanic-togas-7-more/), see/saw’s weekly column exploring the latest and greatest punk and rock’n’roll records. It’s a good crop this week, with offerings from Melbourne psych rockers Bananagun, Mexican garage punks Sgt. Papers, plus bands from France, Italy, Argentina, Austria, the UK, and Indonesia. And Omaha. To enjoy this punk rock survey of the globe, throw me over a little cash. Punk This Week is available to paid subscribers (and [those who barter](https://see-saw.fun/bartering/) their way across the paywall). Free subscribers still have access to interviews, podcasts, playlists, and other weekly posts. [Please consider a subscription](https://see-saw.fun/punk-this-week-miracle-debt-thirdface-brower-7-more/#/portal/), free or paid, to help grow this reader-supported endeavor. It’s a weird week. Take care of yourself. --- **Bananagun:** [***Why Is the Colour of the Sky?***](https://bananagun.bandcamp.com/album/why-is-the-colour-of-the-sky?ref=see-saw.fun) **\[Anti-Fade/Full Time Hobby\]** Bananagun, the unbelievable ’60s psych and tropicália indebted band from Melbourne, has returned with their new album *Why Is the Colour of the Sky?*. A melodically beautiful and jam forward record that is in no way punk but is in many ways rock’n’roll, the new Bananagun is here for a hammock and iced tea kind of afternoon. Feel the literal or metaphorical sun on your face. “With the Night” is easy listening, ornately constructed and breezy. Elsewhere they bust out the flute solos. It’s vintage cocktail party energy, but the kind of retro-ass party where somebody breaks out drugs. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/11/a1651176904_10.jpg)](https://bananagun.bandcamp.com/album/why-is-the-colour-of-the-sky?ref=see-saw.fun) --- _This post is for paying subscribers only._ ### punk this week podcast 11: thirdface + miracle debt URL: https://see-saw.fun/punk-this-week-podcast-11-thirdface-miracle-debt/ Last updated: 2024-11-06T14:54:06.000Z ![audio-thumbnail](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/media/2024/11/punk-this-week-11_mixdown_thumb.jpg) punk this week 11: thirdface + miracle debt 0:00 /3200.232 1× Punk This Week *is see/saw’s weekly podcast from co-hosts Evan Minsker and Nina Corcoran, breaking down the latest releases in the world of punk rock. Each episode highlights two records with brief discussions of an additional four.* In the eleventh episode of *Punk This Week*, recorded before Election Day obviously, Evan and Nina discuss the new albums from Nashville’s [Thirdface](https://thirdface.bandcamp.com/album/ministerial-cafeteria?ref=see-saw.fun) and Minneapolis’ [Miracle Debt](https://miracledebt.bandcamp.com/track/goth-phase-2?ref=see-saw.fun), plus new ones from [Thus Love](https://thuslove.bandcamp.com/album/all-pleasure?ref=see-saw.fun), [Qlowski](https://qlowski.bandcamp.com/album/the-wound?ref=see-saw.fun), [Blenko](https://blenko.bandcamp.com/album/rebecca-ep?ref=see-saw.fun), and [Brower](https://brower.bandcamp.com/album/flour?ref=see-saw.fun). Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.fun). Find Nina Corcoran on [Instagram](https://www.instagram.com/nina%5Fcorcoran%5F/?ref=see-saw.fun) and [Twitter](https://x.com/Nina%5FCorcoran?ref=see-saw.fun); find see/saw on [Instagram](https://www.instagram.com/seesawdotfun/?ref=see-saw.fun). --- Further linking: - [Thirdface interview in Treble](https://www.treblezine.com/thirdface-influences-interview-ministerial-cafeteria/?ref=see-saw.fun) - [Thus Love interview with Vermont Public Radio](https://www.vermontpublic.org/local-news/2024-11-01/brattleboro-indie-band-thus-love-releases-new-album-heads-out-for-us-and-european-tour?ref=see-saw.fun) - [Qlowski track-by-track interview with God Is In the TV](https://www.godisinthetvzine.co.uk/2024/11/01/track-by-track-qlowski-on-their-chilling-new-album-the-wound/?ref=see-saw.fun) --- *Punk This Week* is made possible by see/saw subscribers; please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-10-prostitute-the-obgms/#/portal/) if you enjoy this podcast and tell one friend about us. ### playlist: the best punk songs of october 2024 URL: https://see-saw.fun/playlist-the-best-punk-songs-of-october-2024/ Last updated: 2024-11-04T15:39:29.000Z Hey, it’s Evan. For the uninitiated, these monthly [playlist posts](https://see-saw.fun/tag/playlist/) feature my mommy blog-style check-ins about what’s been going on in the past month. This one’s maybe a little grandiose, because in October, therapy helped me cement that I no longer want to pursue a career in music writing. I was on that path for a dozen years and probably would’ve retired in that life if the billionaires let me. (That was never going to happen.) Instead, I’m viewing music writing as my art practice. see/saw is something I do to honor the version of me that got into music writing as a teenager and the even younger person who had his life changed seeing the Lost Sounds at an American Legion Hall in Huntington, West Virginia. (I feel like I’m talking about that show a lot lately.) This thing I’m building is everything I always wanted this life to be. I’m doing radio and podcasts, interviews and weekly recommendations, making zines and presenting shows. In last month’s playlist post I wrote about metrics (subscriber count for example), and it’s been occurring to me how numbers really don’t spark joy. It’s genuinely incredible that people subscribe and pay the $4/month for all the writing, but what means more is when I actually talk to people one-on-one. It’s having an incredible night at the Panel and Joust show, or it’s meeting a bunch of awesome people at Rash Fest. It’s getting genuinely heartwarming emails and DMs. It’s doing the [podcast with Nina](https://see-saw.fun/tag/podcast/) and [interviewing people](https://see-saw.fun/tag/interview/) who make things. I guess that’s what I mean about see/saw being my art practice and not a path to a career. If it makes money, that’s obviously great, but my focus is for it to mean something to someone. Even that isn’t fully the point. Like I said above, I do it for me. I do it to fill my own cup, and I’m building something that I desperately want to see in the world. October was an incredible month for punk music, which is reflected in this truly massive playlist. If you’re new to see/saw, I think every single thing here was mentioned in some capacity on the site over the past month. If you like this thing, consider subscribing (for free or money, either way). Much love. Go vote. [**the best punk songs of october 2024**](https://bndcmpr.co/089db464?ref=see-saw.fun) 1-800-MIKEY: Japan COFFER: Curtain Rod STERÖID: After Dawn Dirty Ass: Membiru nunofyrbeeswax: André the Giant Rowdy: Keep It Secret Meow Mewo and the Smackouts: War of Attrition (Sell Yr Synth) ty: Devil Tattoo Miracle Debt: Back Channel Scud: Minor Injuries The Circulators: Troublemaker Cosey Mueller: Trotzstadt Pressure Pin: Polyurethane Gonk: Grown Ups Power Pants: D.W.G.W.Y. Thine Retail Simps: Prismic Dangle Uranium Club: Beethoven’s Oven The Antics: Masked Toys That Kill: Sonic Glow Shadow Show: Baba Yaga The Brakes: Stranger Oh Telephone: Can’t Ride With Me No Drama: Papershop Henrik Appel: Walking Down the Road Alvilda: Alvilda PYPY: Erase Why Bother?: Tag the Train The Submissives: Do You Really Love Me The Dumpies: Gay Boredom The Canadian Dispatch: I (Don’t) Wanna Go to Hollywood and Be Famous (Anymore) Night Court: Miranda July Brower: (Ooh, Baby!) I’m Tired The Idgets: Hypospadias Girl Fit: Vampire Crush Itchy and the Nits: Nudie Beach Amor, Muerte Y Leonora: Apaga La Luz CLASS: Not an Idiot Midgee: (Somebody) Shot Me Gold Cup: Honey Boy Fan Club: I Was a Stray Snooper: Relay Faux Depart: Drone Venganza: 1312 Montaditos Snarling Dogs: Televised Violence Chubby and the Gang: Anticop Man-eaters: Double Trouble The Dry Retch: Shanghai Surprise The Losers: Working Woman Ruines: TEDIO Black Ends: Red Worry BZDET: NATARCIE BARF!: I Am an Alcoholic Das Nest: Second Tier Disintegration: Hideaway Qlowski: The Wound Corker: Hallways of Gray Faze: Who Does Your Daddy Sell His Guns To? Pied-de-Biche: Citadelle Piss Wizard: Eastlink Achterlicht: Rinna Public Pleasure: Shelley Duvall’s Cigarette Ash Jealous Yellow: Purple Crayon Medium: Peeking Through the Blinds Dick Hick: Why Can’t I Get What I Want :( Peter and the Skeeters: SLUMLORD Feral Stupid: Executive Bathroom Worldview: Worldview Thirdface: Meander The Dogs: Shut Up Los Darks: Problemas I JAM: Fireman’s Axe TRIPE: Chip 4 Brains Nervous B.O.: Groomed to Die ABSCAM: D-Beat Cooper Träume: Kraina Snów Lack: Sense of Betrayal Lackey: Lackey Heterosexuals: Who’s Having Sex? S.H.I.T.: KTF Sick Fucks: Kings of Piss! Kasso: Tranquilized Consec: Biohacker Hell Is Here: Children of No Tomorrow Bottom Blade: CLUTCH Decept: Ouroboros Knife Kink: Trader Use of Force: Locus of Control Punitive Damage: Baptism of Fire Zorn: Endless Funeral ### punk this week: miracle debt, thirdface, brower + 7 more URL: https://see-saw.fun/punk-this-week-miracle-debt-thirdface-brower-7-more/ Last updated: 2024-11-01T17:32:20.000Z Welcome to [Punk This Week](https://see-saw.fun/punk-this-week-fentanyl-satanic-togas-7-more/), see/saw’s weekly column exploring the latest and greatest punk and rock’n’roll records. Minneapolis’ Miracle Debt prove that they’re one of the city’s best bands on their new album *Under the Shadow*, and Nashville’s Thirdface have a relentless and great new hardcore record. That plus new albums from Brower, Qlowski, Henrik Appel, GONK, and more. There’s so much good stuff this week. To read all about it, make sure you subscribe! Punk This Week is available to paid subscribers (and [those who barter](https://see-saw.fun/bartering/) their way across the paywall). Free subscribers still have access to interviews, podcasts, playlists, and other weekly posts. [Please consider a subscription](https://see-saw.fun/punk-this-week-prostitute-alvilda-zorn-8-more/#/portal/), free or paid, to help grow this reader-supported endeavor. --- **Miracle Debt:** [***Under the Shadow***](https://miracledebt.bandcamp.com/album/under-the-shadow?ref=see-saw.fun) **\[Salinas\]** At a show several days back, I was telling Zac from Texture Freq, Panel, and Visual Learner how much I was looking forward to this new Miracle Debt record, largely on the back of Salinas’ catalog and reputation. He called Miracle Debt “probably the best songwriter rock band in Minneapolis right now,” and after listening to *Under the Shadow*, I totally believe him. A ready-for-autumn rock’n’roll comfort record with plenty of edge. It’s got catchy-as-shit sing-along hooks. I’d very much like to get my hands on the lyric sheet and dig in even more, but the first spins have been so rewarding without it. I anticipate taking it on a lot of walks as the weather keeps taking a dive. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/11/a4148304777_10.jpg)](https://miracledebt.bandcamp.com/album/under-the-shadow?ref=see-saw.fun) --- _This post is for paying subscribers only._ ### punk this week podcast 10: prostitute + the obgms URL: https://see-saw.fun/punk-this-week-podcast-10-prostitute-the-obgms/ Last updated: 2024-10-29T12:49:10.000Z ![audio-thumbnail](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/media/2024/10/punkthisweek10_mixdown_thumb.jpg) punk this week 10: prostitute + the obgms 0:00 /2952.264 1× Punk This Week *is see/saw’s weekly podcast from co-hosts Evan Minsker and Nina Corcoran, breaking down the latest releases in the world of punk rock. Each episode highlights two records with brief discussions of an additional four.* It’s the tenth episode of *Punk This Week*! Ten!!! This time Evan and Nina discuss the new albums from Detroit’s [Prostitute](https://www.instagram.com/attempted.martyr/?ref=see-saw.fun) and Toronto’s [the OBGMs](https://theobgms.bandcamp.com/album/sorry-its-over?ref=see-saw.fun). They also get into the latest from [Squint](https://squintstl.bandcamp.com/album/big-hand?ref=see-saw.fun), [Alvilda](https://alvilda.bandcamp.com/album/cest-d-j-lheure?ref=see-saw.fun), [Vecinos](https://montventoux.bandcamp.com/album/junta-extraordinaria?ref=see-saw.fun), and [Zorn](https://zornphilly.bandcamp.com/album/endless-funeral?ref=see-saw.fun). Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.fun). *Punk This Week* is made possible by see/saw subscribers; please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-09-pypy-1-800-mikey/#/portal/) if you enjoy this podcast and tell one friend about us. ### in the van with s.h.i.t. in japan URL: https://see-saw.fun/in-the-van-with-s-h-i-t-in-japan/ Last updated: 2024-10-28T14:02:25.000Z [S.H.I.T.](https://whatwedoissecrete.bandcamp.com/?ref=see-saw.fun) are on the road from Sendai to Tokyo in the middle of a tour of Japan. The Toronto collective’s plan to do an interview about their new album[*For a Better World*](https://lavidaesunmus.bandcamp.com/album/for-a-better-world?ref=see-saw.fun), in these exact circumstances, is far from ideal. Winding through mountains, the call drops twice mid-sentence. They pass phones back and forth, leading to some “wait who just said that part” follow-ups. The upside is that they’re all together. With Ryan Tong living in the UK and Spoiler in Montreal, it’s an opportunity for the entire band to reflect on one of their best records to date. (Three of the five members often refrain from speaking.) It’s a typical tour in some ways: “Right now it’s been a lot of in the van shit,” says Greg Benedetto. “It’s the Japanese version of the American tour where you wake up and nothing’s open when you have to leave. You get in the van, you see a couple rest stops.” They’ve stolen a few moments—a cemetery walk, coffee at the fish market. “Haven’t eaten the same meal twice,” two members of the band boast. The crowds pack the rooms from the moment doors open; they’re greeted by an enthusiastic and supportive DIY scene. It makes sense: S.H.I.T. is an institution. For over a decade, this band’s records—the self-released ones, the Bandcamp live tapes and demos, the comp appearances, and the stuff on Iron Lung and La Vida Es Un Mus—have arrived with a raw, intense, harrowing d-beat guarantee. Impossibly, *For a Better World* ratchets the tension on their reliably intense approach. “Stolen land soaked with innocent blood,” screams Ryan Tong, “as the Lockheed bombs fall from the sky above. They were paid for by you and me: corporate funded killing technology.” With a lot of road ahead of them, they spent a half hour in the van speaking over the spotty connection about the logistics of being a band spread out across the globe, the pointed and political nature of their work, finding community through the anger they express, and the long rocky road to the new album’s completion. **Between the previous work and the new record, what’s the biggest change between the previous work and this one?** Ryan: Well, these songs are not new to use. We tried to write and record them for a very long time. As far back as the pandemic, I think these songs were written. I think every time we tried to put together a recording or get together to do it, it hasn’t really turned out the way we wanted it to. I think for me what’s different about these last batch of songs is that we got together and did them all together as a band in a very long time in this configuration. The recording process was different for me. That stands out. We all got together in Toronto during the solar eclipse and wrote and recorded all the songs together, and it felt really good. **I’m curious, how does it feel to physically perform and express a song like “Kill the Fuckers”?** Ryan: That song came together literally in the studio when we were together. I was trying to finish up lyrics for that particular song and I think Greg brought up the quote. It was something like, “The Earth’s not dying, it’s being killed, \[and those who are killing it have names and addresses\].” Greg: It’s a Utah Phillips quote. As with most things, I was like, “How can we simplify this and make it stupider?” Ryan: To me, and I imagine a lot of people living in the world today, everything is so extreme. Oftentimes, we feel really helpless with these giant superpowers enacting these atrocities and having them unfold in front of us day to day, it really puts you in a fucked up space. I think the song represents that feeling—of feeling helpless and wanting to just lash out in a very violent way. **It feels like there’s a good bit of that throughout the record. When you talk about giant superpowers enacting atrocities, I think of “Corporate Funded Killing Technology.”** Ryan: Yeah, that song is definitely about that, but I think it’s also more importantly about our complicity in that and how we’re wrapped up in that just by being a part of it. I think it’s very easy to point the finger and say, “Oh these people with all the power are wholly responsible for it,” and they definitely are in a big way, but they’re using our money and we’re complicit in it as well. **S.H.I.T. exists in this tradition of punk and hardcore that steeps itself in the hell of real life. How do you feel about the other realm of punk, bands that largely just make escapist party music?** Greg: I guess I don’t really care too much. I think what you put out into the world invites the company you keep to some degree. We don’t get asked to play party punk shows, sadly, because we’re a pretty funny group of guys who like to party. It’s been funny to me observing ourselves spending most of the past few days drinking, hanging out and having a good time, then getting up on stage and playing what is effectively dramatically over-serious music. I’d say we’re alarmed and disturbed at the state of the world right now for many reasons expressed in our music. That said, maybe something that gets lost in the despair of the music and is worth communicating. We think it’s important that we always try to find and create hope and love for ourselves and others. So yes, the music is serious. It’s angry and aggressive, but that’s always been a means of inviting people into a community, be it through any of the spaces we’ve run or festivals we’ve booked. We have to believe a better world is possible and it’s up to any of us to create that however we can. By making angry music, you meet other people that are also angry about the same things and you can start taking care of and supporting each other from there. **What is your all’s writing process like?** Greg: These songs took forever to get to their final form, and in some cases, their final form is not entirely different from their early stages. We kind of just feel it out together most of the time. There’s a bit of a process of determining what makes sense for the band and what doesn’t. Sometimes we play a song for two years and then we’re like, “You know what? That song actually fucking sucks.” I think of all these songs, the first one we wrote actually got binned before even the first session. I think we called it “Frost’s Revenge” or something? Someone in the back of the van: Yeah, that song sucked. Greg: That song sucked! There was a song on the [No Deal comp](https://nodealcomp.bandcamp.com/album/comp-2-keep-your-money?ref=see-saw.fun) \[“The War on You”\]; we did a recording session in 2021 where we recorded five songs. We picked that one because we thought it was the best. Played it a few times, then we were like “that song kind of sucks” and we stopped playing it. Then on the new record, there’s a song called “Haunted.” It was originally recorded in the same session as “War on You,” but we hated it after that. We revisited the original version, and when we were practicing to record this LP, we were like, “You know what, a couple changes to this might make it a lot better.” **That has to be a benefit to being a band for a long ass time is you have this backlog of material you can tweak and rethink.** Greg: It’s also its own trap, right? You’re trying to figure out how to write things that still sound like you but also not sound like you. You also get bored playing certain things over and over and over again. I’m better at my instrument than I was when the band started, \[*to someone else in the van*\] maybe *you* are, but it’s a blessing and a curse. Sometimes you end up having to play songs because people want to hear them even though you don’t necessarily want to play them. **With you guys in different places, did it ever feel like the band was over?** Greg: I mean I feel like it feels that way maybe every few months and it has for a long time. Some of these songs are quite old. There are probably like three versions of “Imminent Destruction” at this point. At every point we’d get a recording back and we’d be like, “Fuck, I don’t know.” Everybody would be in different places and communication’s particularly challenging sometimes. Then you just get to a point where it’s like “well this is hard to do and also not necessarily fun.” We’re all very grateful for the fact that seemingly when the five of us get in a room, we do really enjoy it quite a bit. I know maybe that’s not the case for most bands but that is sort of the driving force. Every once in a while we remind ourselves that yeah, being in a band for 12 years seems fucking silly sometimes but the reason we get to do things like come to Japan is because we do it. And then doing Japan is also fun! It’s not like work or suffering. We get to play these songs to people and they enjoy them. So the short answer is every few months all of us want to quit. I think in the process of creating this record everyone wanted to quit. I know I said it. Ryan: This record in particular, for me at least, gave the band a little bit more energy. Having it come together the way it did and us being really happy with it and being really excited to put it into the world, I think that definitely gave us a lot more energy. Also, coming to Japan is fucking amazing. --- *see/saw is a reader-supported publication. If you enjoyed this article, please consider a* [*subscription*](https://see-saw.fun/the-submissives-deb-edison-is-finally-ready-to-look-back/#/portal/) *to support this independent punk journalism operation.* ### punk this week: prostitute, alvilda, zorn + 8 more URL: https://see-saw.fun/punk-this-week-prostitute-alvilda-zorn-8-more/ Last updated: 2024-10-25T19:30:50.000Z Welcome to [Punk This Week](https://see-saw.fun/punk-this-week-fentanyl-satanic-togas-7-more/), see/saw’s weekly column exploring the latest and greatest punk and rock’n’roll records. In addition to that new Amyl and the Sniffers album, there are new ones from Detroit’s Prostitute, Paris’ Alvilda, and Philadelphia’s Zorn. All that plus the latest from Hot Tubs Time Machine, Piss Wizard, Stall, Midgee, Electric Prawns 2, and more. There’s a way to read all about it: Punk This Week is available to paid subscribers (and [those who barter](https://see-saw.fun/bartering/) their way across the paywall). Free subscribers still have access to interviews, podcasts, playlists, and other weekly posts. [Please consider a subscription](https://see-saw.fun/punk-this-week-1-800-mikey-corker-s-h-i-t-the-dogs-high-vis-9-more/#/portal/), free or paid, to help grow this reader-supported endeavor. --- **Prostitute:** [***Attempted Martyr***](https://linktr.ee/attemptedmartyr?fbclid=PAZXh0bgNhZW0CMTEAAaY5FJ2V6UmHVkl8haQT9tbIj-s2AL9YBbYPFrgWOtWSZCyhNKnyg7d%5Fgno%5Faem%5FcGkvt0CSnWJuX3PKt1EkYw&ref=see-saw.fun) **\[self-released\]** After making a name as one of the city’s best new live bands, Detroit’s Prostitute dropped this intense album into the world. *Attempted Martyr* is searing, ominous, heavy-fisted post-punk. There’s this section of “Senegal” where the guitars ascend with the buzz of a chainsaw. There’s all this patience and space, so when they hit hard, it feels massive. It’s recorded by Chris Koltay, and as you might expect, it sounds massive. This sounds like a band that’s already spent years becoming enormous, not a debut album. Bonus points for “Joumana Kayrouz,” the latest Detroit post-punk homage to a local billboard legend. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/10/artwork.jpg)](https://linktr.ee/attemptedmartyr?fbclid=PAZXh0bgNhZW0CMTEAAaY5FJ2V6UmHVkl8haQT9tbIj-s2AL9YBbYPFrgWOtWSZCyhNKnyg7d%5Fgno%5Faem%5FcGkvt0CSnWJuX3PKt1EkYw&ref=see-saw.fun) --- _This post is for paying subscribers only._ ### smithereens, selfies + sex and the city: on susan seidelman’s new memoir URL: https://see-saw.fun/smithereens-selfies-sex-and-the-city-on-susan-seidelmans-new-memoir/ Last updated: 2024-10-23T17:51:38.000Z ![In 1981, Susan Seidelman made her first feature film, shootin on the Lower East Side without permits.](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/10/seidelman-squares1.jpg) ![Before influencers and Instagram, Smithereens was about a young woman trying to achieve fame by posting selfies.](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/10/seidelman-squares2.jpg) ![After finishing it, Seidelman got a call from the Cannes Film Festival asking to meet her the next day for an early breakfast. "I'm sorry, I'm not a morning person." She went to the breakfast, and the movie went to Cannes.](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/10/seidelman-squares3.jpg) ![Seidelman chose to direct Desperately Seeking Susan next, because the script reminded her of a French film from 1974: Celine and Julie Go Boating.](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/10/seidelman-squares4.jpg) ![Desperately Seeking Susan is a perfect movie about identity, domesticity, and female friendship.](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/10/seidelman-squares5.jpg) ![As Seidelman writes in her new book, her career was spotty after that, marked by weak box office and mixed reviews. "The movie industry is ruthless...[but] it’s well known that in Hollywood, men can fail upward."](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/10/seidelman-squares6.jpg) ![She turned to TV work, directing episodes of Sex and the City. Carrie Bradshaw: "I bought another pair of shoes!"](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/10/seidelman-squares7.jpg) !["Admittedly, [Sex and the City] was a vision of Manhattan that Smithereens' Wren would no longer recognize and probably disdain," Seidelman writes. Wren: "Puke!"](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/10/seidelman-squares8.jpg) ![What might Seidelman have made if she'd gotten the same freedom and support of her male counterparts? Wren: "I stole another pair of shoes!"](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/10/seidelman-squares9.jpg) --- *Nathan Gelgud is a cartoonist and illustrator. His comics about movies and books have appeared in The New York Times, The New Yorker, New York Review of Books, and Hyperallergic.* ### punk this week podcast 09: pypy + 1-800-mikey URL: https://see-saw.fun/punk-this-week-podcast-09-pypy-1-800-mikey/ Last updated: 2024-10-22T14:13:39.000Z ![audio-thumbnail](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/media/2024/10/punkthisweek09_mixdown_thumb.jpg) punk this week 09: pypy + 1-800-mikey 0:00 /3044.616 1× Punk This Week *is see/saw’s weekly podcast from co-hosts Evan Minsker and Nina Corcoran, breaking down the latest releases in the world of punk rock. Each episode highlights two records with brief discussions of an additional four.* It’s the ninth episode of *Punk This Week*! This time Evan and Nina discuss the long-awaited new album from Montreal’s [PYPY](https://pypy.bandcamp.com/album/sacred-times?ref=see-saw.fun) on Goner Records, a power pop gem from Sydney’s [1-800-MIKEY](https://1-800-mikey.bandcamp.com/album/digital-pet?ref=see-saw.fun) on Under the Gun, and the latest salvo from Toronto hardcore institution [S.H.I.T.](https://lavidaesunmus.bandcamp.com/album/for-a-better-world?ref=see-saw.fun) We also talk about the latest from [Corker](https://see-saw.fun/the-submissives-deb-edison-is-finally-ready-to-look-back/), [SLIM0](https://slim00.bandcamp.com/album/forgiveness?ref=see-saw.fun), and [the Dogs](https://utgrecords.bandcamp.com/album/total-dog-shit?ref=see-saw.fun), plus some talk about the upcoming see/saw year end zine and bonus pods! Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.fun). --- **Further linking:** - [PYPY interview on Paperface](https://www.gimmepaperface.com/post/pypy-the-presence-of-synthesizers-sets-this-record-apart-from-our-first-one-i-m-curious-to-see-ho?ref=see-saw.fun) - [1-800-MIKEY interview in *Gimmie*](https://gimmiezine.com/2022/06/26/1-800-mikey/?ref=see-saw.fun) --- *Punk This Week* is made possible by see/saw subscribers; please [consider a subscription](https://see-saw.fun/punk-this-week-08-touche-amore-the-submissives/#/portal/) if you enjoy this podcast and tell one friend about us. ### porridge radio on punk rock as a pathway into making music URL: https://see-saw.fun/porridge-radio-on-punk-rock-as-a-pathway-into-making-music/ Last updated: 2024-10-21T14:52:50.000Z *“*[*Record Exchange*](https://see-saw.fun/tag/record-exchange/)*” is a series of conversations between see/saw and a fellow punk enthusiast. Each person brings two songs to discuss. The latest installment is a chat with Dana Margolin, whose band Porridge Radio just released their new album* [Clouds in the Sky They Will Always Be There For Me](https://porridgeradio.bandcamp.com/album/clouds-in-the-sky-they-will-always-be-there-for-me?ref=see-saw.fun) *on Friday.* There was no way Dana Margolin was going to sit at home waiting to get on a video call for this conversation about punk records. On a beautiful afternoon, she’s sitting outside at a café by the Tate Modern in London. Pigeons are bothering her constantly while she enjoys her lunch. It is a textbook great day one month before the release of her new Porridge Radio album. She’s outside eating a sandwich and listening to punk songs on headphones. Margolin’s taste doesn’t often veer toward heavy music in recent years, but at 18, punk rock was there for her during a period where she was a voracious explorer of music. “There was a real phase where I needed to listen to loud, aggressive, kind of atonal music often,” she said. Among the artists whose work connected with her was the late Jay Reatard. Revisiting these songs at this juncture, they lit up a familiar part of her brain: “I was listening to both albums being like, ‘This was so formative.’” Back when she didn’t have chops as a musician or singer, punk and rock’n’roll offered Margolin a potential roadmap to a life as an artist—the confidence to do it herself. In the days leading up to *Clouds in the Sky They Will Always Be There For Me*’s release, she’s in a position where she has to examine the personal nature of her own work. That’s how this works—you make a record, and then other people talk to you about your record. “You just chat away and then you look at what’s written after and you’re like, ‘I said that, and it’s true and it’s embarrassing,’” she said. “Writing or performing a song is very different to having an interview about a song. I think that’s the hard bit.” Vulnerability is inherent to the game, and it’s paramount to Margolin’s music. “The thing that I’m looking to do through everything I make, the thing that is foundational to it, is vulnerability and honesty and earnestness,” she said. “Like capturing an emotional core of something. To do that you have to be truthful and bear these ugly parts of yourself, these bits of yourself that you don’t necessarily want people to see.” It’s a balancing act. This moment outside seems like a reprieve from that tension—lunch in the sunshine, a good book, a cup of coffee, punk songs, and pigeons. --- **Dana’s pick: Moist Crevice’s “**[**Doggy**](https://moistcrevice.bandcamp.com/track/doggy?ref=see-saw.fun)**”** [Psychic Violence by Moist Crevice](https://moistcrevice.bandcamp.com/album/psychic-violence?ref=see-saw.fun) The frontperson, her stage name is Maura Sappilo, but we lived together for a year and we actually used to share an art studio. She’s an incredible visual artist and she had a period of work where she would do these line drawings in black pen. They were these huge stories and amazing narratives and have loads of words all over them. She actually made a music video animation for us on the last record. She makes all her own outfits for Moist Crevice, these absolutely incredible, extravagant, weird things. It’s really intense and amazing. There’s a kind of freeness to what they do. The drummer is a really good guitarist but he wanted to play drums. He wanted to do something he wasn’t as good at and have fun doing it. The singer is an incredible artist and had never been a singer, and she was just like, “I want to be in a band.” It’s that kind of band where it’s more about“let’s have a space to figure out how to embrace doing something for the fun of it and the sake of the art of it.” They bring so much energy and joy to everything they do. --- **see/saw’s pick: Enemic Interior’s “Esperit Isard”** It’s perfect. You don’t need more. You don’t need choruses to come back. When I’m writing, I never think \[in structure\]. What we get is songs with quite weird structures a lot of the time. I don’t know if you’ve noticed that we do that, but it’s not really on purpose, it’s just because that’s the way that the song says “this is how I go” and you just follow it. On this new record, as well, it’s kind of like you have the first half of the song, which is verse verse, and the second half is the chorus. We often have kind of arguments within the band where it’s like, “OK, so go to verse two” and everyone has a different idea of what verse two is. We’ll have been playing a song for like a month and then we’re like, “OK so you know in the chorus,” and it’s like, “Which bit would you say is the chorus?” But I do really relate to this kind of thing. Maybe that comes from listening to this kind of punk as a teenager. --- **Dana’s pick: Jay Reatard’s “Death Is Forming”** My manager Josh is a really old friend of mine. We met when we were 18, and Josh runs a little tape label. We made friends when we were teenagers because we both were just obsessed with finding bands and talking about music. That was our foundational thing. He would often make me these mix CDs, and Jay was on one of those. I just remember hearing him being like, “This is amazing.” I got both albums and listened to them all the time. I didn’t realize that he died. There’s a documentary about him, isn’t there? I think I watched it back then. I remember being so saddened to hear of his life and death. I think I was 18 at the time like, “This is like perfect music. It just completely captured something really special.” This song is kind of dissociative, but in a way that puts a frame around the dissociation. It’s contained within something. It’s not just this thing where you can’t hold on to it. It’s so precise, but there’s something so awkward about it but also so grounding and holds you in it. I love it. ***He was so incredible at writing love songs completely smothered in darkness.*** Yeah, which is also true of the kind of love songs I write. \[*laughs*\] There are some songs on our new record which I really wrote being like, “I’ve written a beautiful love song.” And I sent “[In a Dream I’m a Painting](https://porridgeradio.bandcamp.com/track/in-a-dream-i-m-a-painting?ref=see-saw.fun)” to my sister and she was like, “This is so sad.” --- **see/saw’s pick: Tee Vee Repairman’s “Lights Out!”** Perfect. You know what I was thinking is it’s exactly bands like that, making music like that, that made me realize I could also write songs and play music when I couldn’t play instruments. I’d never sung before outside of being a child in school choir. It was hearing bands like that which made me feel like “maybe I can do this as well. I have loads of ideas. I should get involved.” I couldn’t play guitar when I started writing songs, I couldn’t sing, I’d never really been on stage, I didn’t know what I was doing. But this was the exact vibe. It’s inspiring. ### punk this week: 1-800-mikey, corker, s.h.i.t., the dogs, high vis + 9 more URL: https://see-saw.fun/punk-this-week-1-800-mikey-corker-s-h-i-t-the-dogs-high-vis-9-more/ Last updated: 2024-10-18T12:39:54.000Z Welcome to [Punk This Week](https://see-saw.fun/punk-this-week-fentanyl-satanic-togas-7-more/), see/saw’s weekly column exploring the latest and greatest punk and rock’n’roll records. This week is a huge one for the form. The 1-800-MIKEY album is an absolute classic. The Dogs follow up their iconic track “We Are the Dogs” and cover the Velvet Underground. There’s new Corker, S.H.I.T., High Vis, and PYPY; Uranium Club and Sick Thoughts contributed to a new Palestine benefit comp. There are literally 25 additional records mentioned in this week’s installment. It’s a giant-sized column for insatiable among us. There’s a way to read all about it: Punk This Week is available to paid subscribers (and [those who barter](https://see-saw.fun/bartering/) their way across the paywall). Free subscribers still have access to interviews, podcasts, playlists, and other weekly posts. [Please consider a subscription](https://see-saw.fun/punk-this-week-the-submissives-picture-that-shadow-show-8-more/#/portal/), free or paid, to help grow this reader-supported endeavor. --- **1-800-MIKEY:** [***Digital Pet***](https://1-800-mikey.bandcamp.com/album/digital-pet?ref=see-saw.fun) **\[Under the Gun/Erste Theke Tontraeger\]** One time, allow yourself a safe space to turn on the album *Digital Pet* by 1-800-MIKEY at a significant volume. Stand up, offer yourself the slight inhibition to move around. *Digital Pet* is such expert power pop, such infectious and warm music where one track hits and it’s song of the year, and then the next track hits and nope, that’s song of the year. Album opener and lead single “Rental Girlfriend” is a top-to-bottom hit, the title track is earnestly uplifting, “Japan” is starry-eyed. There is not a bad song on this record. If you’ve ever been moved by the scuzz-pop prowess of Mike Krol, the grit-slathered swoon of the Bed Wettin’ Bad Boys, the pie-in-the-face immediacy of GEE TEE or *Was Dead*, you deserve a night on your feet with this very excellent record. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/10/a2632323283_10.jpg)](https://1-800-mikey.bandcamp.com/album/digital-pet?ref=see-saw.fun) --- _This post is for paying subscribers only._ ### the submissives’ deb edison is finally ready to look back URL: https://see-saw.fun/the-submissives-deb-edison-is-finally-ready-to-look-back/ Last updated: 2024-10-16T16:12:10.000Z “I never really did interviews in the past, but it’s a different phase of this band,” says the artist known as Deb Edison. “For some reason I want to now.” Things have changed in the last several years for the Montreal songwriter. She started the Submissives in 2014 at age 24 hellbent on keeping things mysterious. “I was really intense about what I wanted to do,” she said. “It was kind of fun for me to just see what people would say about it without giving much information.” After a series of solo releases under the Submissives name, she got the live band together to record a proper album. [*Live at Value Sound Studios*](https://submissives.bandcamp.com/album/live-at-value-sound-studios?ref=see-saw.fun), released last week on Celluloid Lunch, is one of the best albums of the year, and it’s been gestating since the initial sessions in 2017\. It was recorded in Edison’s boyfriend’s house studio in northern Montreal. Posted up in the basement for two days, the album was recorded in a single take. The album was mastered soon after they finished recording, but then it sat in the vault for seven years. Speaking over video chat from Montreal, Edison revealed a tangled relationship with making records versus releasing them. Part of that is due to her nature of embracing the creation and not caring as much about putting out a finished product, but *Live at Value Sound Studios* was also one of the last records she made before committing to sobriety. For a long time, she needed to distance herself from the person who made these records. Now, she’s in a place where she wants her work to see the light of day. **What do you remember about making this record?** My current boyfriend, Rene Wilson is his music name, being a recording engineer is the only job he’s ever had in his life for like 20 years even though he’s only 35\. He started when he was 15 in Edmonton. He was living at this house up north in Montreal; it’s super rare to find a house. The city is mostly apartments, so if you know someone who rents a house it’s crazy. He and his good friend Garrett Johnson started the studio when they moved here in 2014, and both of them were super intense. They recorded reel to reel. This record was completely analog. The entire house, there’s amps in rooms and closets and everything is isolated. It was a really exciting development in the city. I moved here in 2008 and it was just a really exciting change. Rene still lives in that house and records to this day. Garrett Johnson recorded it and I exchanged some furniture finishing work for the recording. I’m pretty sure we didn’t do any second takes. We did the whole thing in maybe two days. For me, the Submissives is my first pop band. That was sort of the experiment of it because before that point, I was doing punk bands and hardcore and then got more into noise and jazz. Basically I was just really frustrated because the scene was very much a boys club sort of thing. The very few DIY venues in the city would always be the same boring ass poppy bands and that’s when Mac DeMarco moved here. He was friends with Garrett and Rene from their hometown, but he moved here and then it was all about Mac DeMarco and the associated projects. I was just like, “God damn, these fucking dudes!” So I was like, I should start a really poppy, boring, formulaic band and just try to conform. I just got more serious about it, then it picked up some traction in the city. I’m happy with how it’s turned out. I don’t think I compromised my vision or my music values. I don’t even know what that means, but I feel like I didn’t compromise. It still hit in and interesting way and it became a popular band here. I was like, “Ugh, of course, when I do this thing people like it.” Then I sort of became addicted to writing these easy pop songs, and then I was like, “Uh oh, I’m too far in this direction.” And then projects after that, I’m sort of reversing course and trying to deconstruct. **I’m curious what some of your touchstones are as a songwriter—what kind of music were you trying to evoke?** I was dating this guy Matt from age 17 until around then. He lives in New York but he’s a punk guy, and I don’t know, they have rules of how to operate in the punk scene. How you look, what you like, and stuff. I was getting really tired of it. It’s like, “Who are you kidding? You guys are all conforming and some of you act like fascists even though you’re so against fascism.” That’s a whole other story. But I was getting really tired of that scene. I had definitely grown out of it. I’m six years sober now, so when we recorded that, that was my last year of being really fucked up all the time. It was definitely a huge transition time. I have this other band called Gashrat, and some of my friends were like, “What are you doing, \[Deb\]? What is this bullshit? Why are you part of other scenes?” And I wanted to push into other places and I wanted to try to change things. For two years, you know Joe Meek, the producer? I was a huge Joe Meek fan, just his ethos and his intensity and his way of producing. He did a lot of things that were new and he was really secretive. He was really a force and also kind of a creepy…it’s pop mixed with a disconcerting feeling is what I really was into. Happy and joyful, but something’s off about it. It’s all over the Submissives lyrics, but like “I’m a woman and I’ll do anything for my man, I don’t care, I’ll die for you, that’s my purpose.” I’d say Joe Meek, the girl group production, and more than even the music itself, but how it was produced and the stories behind those musicians and producers. **It’s interesting to have those lyrics be a reaction not only to music in a historical context but also what was actively happening in your city’s scene.** Definitely the reason this band started was fully reactionary. I’ve probably been in like 30 bands or maybe more at this point. I have probably four solo recording projects. Some I haven’t released, but it’s always because I go to a show and I’m like, “Fuck these people.” I love my friends but it’s more like, “Come on guys, what are you doing? Let’s push it.” I don’t say that out loud, but we have to try harder here. We have to challenge ourselves. We can’t just be regurgitating the same ideas. You can’t just do something trendy and be like, “I’m gonna get popular!” I’m more of an art person. I went to art school. I look at it from that place and I’ve been playing music since I was a baby, so it’s natural for me to come from a different angle or make it more conceptual. **To that point of it being more conceptual, you’re credited as Deb Edison. Why did you want to have a pseudonym?** I never wanted my real name associated with any projects. I’m really into doing comedy with my friends and videos. I have different alter egos, like this character Rodna Howard is another one. It’s hard to explain. When I started making pseudonyms, I had the future in mind, and now that the future is here I’m like, “Whoa, that was crazy.” If I had a new idea or a new project, I’d be like, “I guess this fits in with that alter ego.” It’s mostly I didn’t want myself to be associated. One of my other bands, we would always cover our faces and I never really put any information out there about us. This was my fantasy and it actually happened. Somebody came up to my friend in the band and was like, “Did you see that band? They sucked.” But yeah, it’s like a prank in a way—this big web of confusion. **There’s not enough of that.** I agree. People want to be famous, I guess. I definitely don’t personally want me as a person to be famous, but if it happened to Deb Edison, it would be another avenue to prank people. **This record was recorded seven years ago. Why did it take so long for it to come out?** There is no real good answer for that. My band Gashrat, we released our first LP in 2014 and recorded the next one a year later but never put it out. If I get working on it now, it’ll be 10 years. Like many of my friends, I was diagnosed with ADHD. I have that thing of finishing something to 99% and saying “I don’t care anymore.” It’s more about making it. It’s less about the putting it out, unfortunately. I initiate things and I get things going and then right at the end I just lose interest. Ever since I got sober, every year has been an improvement. I made a big list of all those unfinished projects. This is just me checking this off the list. After we play a show on September 6th and release physical copies for Montrealers, this will be done finally. It’s going to feel so good. But there’s no good reason. It kind of works, though. The content, the lyrics and stuff are all timeless. It could come out in 20 years, I think, and still work. **You mentioned that this record was made in a space right before you got sober. How is it to go back and revisit work by that version of you?** We got it mastered by my friend very soon after we got the mixes and it was ready to go a couple weeks after we recorded. Maybe partly the reason is when I got sober, I just sort of abandoned everything. A lot of that stuff had been so important to me. The Submissives, for example, I was so militant about the idea. When we play live, no one smiles, there’s no banter. It’s really orchestrated and everyone in the band is really down with it. Everyone is really good, we all decide what we’re going to wear, we decide our attitude, or what the concept is even if it’s just in our heads. Getting sober, everything changed and those things that were so important to me, that part of it, it just completely changed. Everything just kind of lost its meaning. The way I was living was totally false in a way for a while. As soon as I got sober I just stopped recording. I mean, COVID happened too, so things were crazy. I haven’t really spoken this in words that much, but I just lost that passion because it was built on this lie of getting drunk. It took a couple years, but now it’s more intense than it was. It’s hard to describe, but the idea of releasing it kind of became way more important to me about a year ago. I listened to it and was like, “Wow, it’s actually good.” I kind of just wrote it off in my mind. Things lost meaning and I had to sort of find myself again. Now that I think I have, as time goes on, it makes more sense now. I haven’t recorded since I got sober, pretty much. I think I’m ready. --- *see/saw is a reader-supported publication. If you enjoyed this article, please consider a* [*subscription*](https://see-saw.fun/thine-retail-simps-strike-gold-an-interview-about-the-new-album/#/portal/) *to support this independent punk journalism operation.* ### punk this week 08: touché amoré + the submissives URL: https://see-saw.fun/punk-this-week-08-touche-amore-the-submissives/ Last updated: 2024-10-15T13:33:29.000Z ![audio-thumbnail](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/media/2024/10/punkthisweek08_mixdown_thumb.jpg) 08 touché amoré + the submissives 0:00 /2964.12 1× Punk This Week *is see/saw’s weekly podcast from co-hosts Evan Minsker and Nina Corcoran, breaking down the latest releases in the world of punk rock. Each episode highlights two records with brief discussions of an additional four.* In the eighth episode of *Punk This Week*, Evan and Nina discuss new ones from [Touché Amoré](https://toucheamore.bandcamp.com/album/spiral-in-a-straight-line?ref=see-saw.fun) and [the Submissives](https://submissives.bandcamp.com/album/live-at-value-sound-studios?ref=see-saw.fun). There’s also new records from [Black Ends](https://blackends.bandcamp.com/album/psychotic-spew-2?ref=see-saw.fun), [Picture That](https://picturethat.bandcamp.com/album/strum?ref=see-saw.fun), [Faze](https://11pmrecords.bandcamp.com/album/big-upsetter?ref=see-saw.fun), and a split from [Crowning and Oaktails](https://crowningpool.bandcamp.com/album/oaktails-split?ref=see-saw.fun). Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.fun). --- **Further linking:** - [The Submissives chat on Paperface](https://www.gimmepaperface.com/post/the-submissives-always-play-the-long-game-and-choose-honest-artistic-expression-over-fame-and-mone?ref=see-saw.fun) - [Touché Amoré interview on New Noise](https://newnoisemagazine.com/interviews/interview-touche-amore-give-us-a-glimpse-into-spiral-in-a-straight-line/?ref=see-saw.fun) - [Black Ends profile on KEXP](https://www.kexp.org/read/2024/9/6/throwaway-style-black-ends-feature/?ref=see-saw.fun) --- *Punk This Week* is made possible by see/saw subscribers; please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-07-drug-church-thine-retail-simps/#/portal/) if you enjoy this podcast and tell one friend about us. ### punk this week: the submissives, picture that, shadow show + 8 more URL: https://see-saw.fun/punk-this-week-the-submissives-picture-that-shadow-show-8-more/ Last updated: 2024-10-11T17:59:05.000Z Welcome to [Punk This Week](https://see-saw.fun/punk-this-week-fentanyl-satanic-togas-7-more/), see/saw’s weekly column exploring the latest and greatest punk and rock’n’roll records. It’s a more pop-leaning installment led by the Submissives’ incredible new album. We head down to St. Louis for the new Picture That on Inscrutable Records, a new double A-side 45 from Detroit’s Shadow Show, some new heaters from 11PM Records, a debut album from Black Ends, a new EP from UV-TV, and much more. Do you want to read all the blurbs and learn about all the music? Punk This Week is available to paid subscribers (and [those who barter](https://see-saw.fun/bartering/) their way across the paywall). Free subscribers still have access to interviews, podcasts, playlists, and other weekly posts. [Please consider a subscription](https://see-saw.fun/punk-this-week-thine-retail-simps-class-chubby-and-the-gang-7-more/#/portal/), free or paid, to help grow this reader-supported endeavor. --- **The Submissives:** [***Live at Value Sound Studios***](https://submissives.bandcamp.com/album/live-at-value-sound-studios?ref=see-saw.fun) **\[Celluloid Lunch\]** There are a lot of reasons to become obsessed with *Live at Value Sound Studios*, the exceptional new album from Deb Edison and company’s the Submissives. The sound is a funhouse mirror refraction of ’60s girl group or bubblegum pop songs—melted earworms rendered psychedelic and dark. The Montreal band sings about unrequited love and what it means to be a girl waiting patiently for a man’s love. There’s commitment to a longform bit about antiquated gender roles, and the earnestness of that message is consistently called into question by droning and dissonant violin and horn. These are incredible songs performed with a disconcerting straight face as their love-obsessed sentiments curdle on impact. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/10/a1145431793_10-1.jpg)](https://submissives.bandcamp.com/album/live-at-value-sound-studios?ref=see-saw.fun) --- _This post is for paying subscribers only._ ### dancer on taking swings and building their own momentum URL: https://see-saw.fun/dancer-on-taking-swings-and-building-their-own-momentum/ Last updated: 2024-10-09T14:25:30.000Z The first time I heard [Dancer](https://www.instagram.com/dancerareaband/?ref=see-saw.fun), I thought former members of Life Without Buildings started a new band. Both groups hail from Glasgow and have lead singers who grew up in the Bedfordshire county of England. But while Life Without Buildings found a deeply poetic way to slow down post-punk in their short tenure around the turn of the century, Dancer push their version of post-punk through art-rock inclinations and imperfect synths that emphasize the joy of getting weird with your friends. “Passionate Sunday” could pass for the Dismemberment Plan with its pitch-shifted math-rock guitar, and “Rein It In” summons the electric spunk of Sweeping Promises at their most spacious. On their debut album, [*10 Songs I Hate About You*](https://meritoriorec.bandcamp.com/album/10-songs-i-hate-about-you?ref=see-saw.fun), all four members of Dancer write and perform like they’re stoked to be here. Their previous band, [Order of the Toad](https://orderofthetoad.bandcamp.com/album/spirit-man?ref=see-saw.fun), leaned on ‘60s psych-pop and stayed away from the experimentation they now indulge in with Dancer. Back then, frontperson Gemma Fleet played bass and sang in a way that never felt natural to her. “I think I was trying to emulate other singers, like Stevie Nicks or Grace Slick, because I wasn’t comfortable with myself in that band,” she says. Her bandmates weren’t doing what they wanted to either; guitarist Chris Taylor was behind the drum kit, and bassist Andrew Doig was stuck on guitar. So they decided to rotate instruments and start from scratch with a new band, bringing drummer Gavin Murdoch onboard to form Dancer in 2022\. As the name suggests, there’s an edge to Dancer’s upbeat songs that’s made for unconventional dance moves—something Fleet would, and does, encourage listeners to do while she writhes around onstage during shows. By ditching her bass and committing to being a lead singer, she freed herself up to move all over the stage live, pushing out more guttural notes with each lunge and dramatizing her exclamations with lungs working twice as hard. She admits she busts out shapes onstage like she’s in the last row of an aerobics class—the individual who starts to improvise when they can only make out 50% of the instructor’s moves. That energy brings out the punk side of Dancer: songs that are spiky and playful, like there’s some pent-up creativity bursting to get out. That enthusiasm hasn’t slowed either. Dancer dropped their new full-length in March, and they’ve already followed it up with this month’s [split](https://whisperhiss.bandcamp.com/album/split?ref=see-saw.fun) with Portland new wave band [Whisper Hiss](https://whisperhiss.bandcamp.com/?ref=see-saw.fun). Plus, a new 7” with [Shopping](https://shoppingfc.bandcamp.com/?ref=see-saw.fun) all-star [R.aggs](https://r4ggs.bandcamp.com/album/tape-1?ref=see-saw.fun) is due next month. Cracking open beers from their respective homes long after the sun had set in Glasgow, Fleet and Taylor joined me on a late-night Zoom call to discuss Dancer’s busy slate of new music, watching the spectacle that is the International Birdman contest, their local music scene in Scotland, and more. [10 Songs I Hate About You by Dancer](https://meritoriorec.bandcamp.com/album/10-songs-i-hate-about-you?ref=see-saw.fun) **You’ve said that your previous band, Order of the Toad, didn't allow for a lot of experimentation. How liberating was Dancer from the get-go in that regard, and did you all have a plan going into it as a result?** Chris Taylor: For me personally, I hadn't been *just* a guitarist in a band for about 10 years. I'd played drums, or played guitar and sang, or did electronic stuff. So I had 10 years of backed-up ideas that I could just throw out there, which was very, very liberating. Andrew, the bassist, did send out an email with song ideas and albums that were a direction he suggested we go in and— Gemma Fleet: What? I didn’t get that! Chris Taylor: Well, I ignored the list. \[*laughs*\] I looked down the list, recognized two things, and decided to do what I wanted to do. See, we all know each other so well and have worked together long enough to know how our ideas react off one another. So we just wanted to have fun, most of all. Technically there was a discussion, but Gemma wasn’t a part of it by the sounds of it. Gemma Fleet: I want to see this list! But mainly I just knew I wanted to sing in my own voice in Dancer. I’ve spent a long time running from my voice and trying to be a fancy, nice-sounding singer, when actually that doesn't really convey my lyrics, which aren’t that pretty. I felt more free to be me. We naturally had a sound that we gravitated towards, which people have drawn similarities to bands like Life Without Buildings, who I really like. Maybe I’ve ripped them off a bit, but \[Life Without Buildings singer Sue Tompkins\] grew up near where I’m from, so it might just be because of the regional accent. **What was it about your voice that you didn’t like?** Gemma Fleet: I think it’s because it sounds a bit rough. I don’t know if that translates in the U.S., but we have a really, really harsh class system here. But then I didn’t want to sing in a posh voice either. There was something I wasn’t quite comfortable with, or didn’t have the confidence to sing in my own voice. In my very first band, back in 2004, I did sing in my own voice and I was confident. I don’t know what happened along the way. Did I lose it? I wanted to come across more as a musician, so I played instruments and sang and had something to prove instead of trying to really express my ideas. **Being a fellow Scottish band like Life Without Buildings, where do you feel like you land in Scotland’s musical lineage?** Gemma Fleet: Well we played with the guitarist from Life Without Buildings, who has a noise project with one of our friends. I asked him what he thought of the band and if we were ripping them off, and he said, “No, it’s nice to see it. It’s cool that the kids still know the influence.” And meanwhile I was thinking, *Uh, you’re only a few years older than me*. \[*laughs*\] I never saw Life Without Buildings play, but Andrew, our bass player, had. They just disbanded quite early. Three of us are English and we live in Glasgow, which is a similar thing with them. We were at the Glasgow School of Art which is a similarity, too. I reckon it’s those similarities that add to the sound. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/10/Dancer-01.jpg) Dancer, photo by Anthony Gerace **What is the current music scene like over there in Scotland right now?** Chris Taylor: There's a lot of good stuff in Glasgow at the moment. I keep banging on about a band called [L](https://marilynmonroeallofus.bandcamp.com/?ref=see-saw.fun) who put a record out called [*Marilyn Monroe*](https://marilynmonroeallofus.bandcamp.com/album/marilyn-monroe-all-of-us?ref=see-saw.fun) earlier in the year. There’s just nothing like it. I really enjoy when I can’t tell if something is really scary or really funny, and they’re great at that type of performance. It’s so heavy but also quite ridiculous. There’s also [Coffin Mulch](https://coffinmulch.bandcamp.com/album/spectral-intercession?ref=see-saw.fun), so a lot of good heavy music in Glasgow right now. But there’s also the complete opposite side of the scale as well. There’s [Apostille](https://nightschoolrecords.lsnto.me/0dlob7aw?ref=see-saw.fun), of course. A lot of people talking about [The Cords](https://thecordsband.bandcamp.com/music?ref=see-saw.fun) at the moment, who are these two young girls playing this jangly, Vaseline-style pop that’s really nice. There’s a big range of things and new bands popping up in Glasgow all the time. Gemma Fleet: In Glasgow, there's so many venues and so many bands that you can't really keep up with what's going on every night. One of my favorites is [Coolant](https://coolant.bandcamp.com/track/kawasaki-ninja?ref=see-saw.fun), a duo that do this electric talky thing. There's definitely a lot of quite interesting stuff or music on the experimental side or, like Chris said, there’s a big heavy scene. We don’t have slews of dull indie bands like some places. **With *10 Songs I Hate About You* being your full-length debut, did you feel like it was summarizing your band after a string of EPs?** Chris Taylor: In my mind, it actually feels more like the end of a phase. The first two tapes and the album have an overarching sound, especially being recorded in the same place, that we’re now expanding from. Because we got quite a nice reaction to the first tape and the second tape, the album had a lot of momentum behind it. There was more opportunity to sneak varied sounds in there. **Even though these songs are really fun, there’s a lot of earnestness to the lyrics about love or memories, things that make the listener pick up on the emotion Gemma is putting down. Where was your mind at while recording the vocals?** Gemma Fleet: Yeah, there’s quite a lot of sincerity in the love songs. Sometimes I feel embarrassed, like oh god, is this *too* emotional? But there’s stupid songs as well that are about whatever I’m feeling at a moment. For me, it’s important to tell a story. As for the actual physical recording of it, I record in the room when the band is playing because I don’t like to do it in the vocal booth solo. I need to feel that energy and togetherness when we’re playing. Chris Taylor: You write so many songs as well, so you touch on a lot. Gemma Fleet: Right. The album is almost old for us at this point because, since then, we’ve recorded a split, another single, and another album we’re in the midst of working on. I do love “When I Was a Teenage Horse” because that title was from a joke that Andrew told us. When he was young, he had the Hole single “Teenage Whore” and he told his mom that the lyrics were “When I was a teenage horse” so she wouldn’t get upset, which I thought was super funny. Chris Taylor: I love “A Diagnosis.” You sound great on that one. **Also in the mix on a lot of these songs is Chris’ self-described “keys attached to guitar contraption.” It’s not a keytar, but an actual hybrid instrument you built yourself. How does that work?** Chris Taylor: This is one of the ideas I had for ages but couldn't use and was most excited about. It’s the opposite of hard work and hammers and nails. It’s a very small Casiotone Bank 100—basically the smallest keyboard imaginable, but still has a lot of sounds on it—which I attached to the guitar with velcro, so I can take it off and put it back on. Out of the headphone socket of the keyboard is a little external speaker that’s held in place by one of those arms you use to attach a phone to a desk, and that points to the pickup of the guitar. So I can just play through without having to make it a separate thing. **This sounds like a creature contraption from *Pee-wee’s Playhouse*.** Chris Taylor: That’s funny because one of my friends describes it as Pee-wee’s guitar. Clearly I’m very into that aesthetic. \[*laughs*\] There’s a game on Nintendo Switch called *Trombone Champ* and I like the idea of adding a freeform version of that, because then it basically becomes an air synth. All of this is ridiculous. I haven’t gotten around to it yet, but that’s the next goal. **Does that mean you end up playing both instruments at the same time?** Chris Taylor: There’s one point in the song “Change” where I’m playing both guitar and keys simultaneously, yeah. I don’t know why it seemed like the way to do it to me, but it did, so I built it. \[*laughs*\] Plus I’ve always had an affinity for the sound of a distorted keyboard, and this guarantees that distortion. Gemma Fleet: Because it's going through the pickups of the guitar, so you don’t need an extra input or anything! **One of my favorite songs on this album is “International Birdman” because of how it starts sparse but builds over the runtime. What is that song about?** Gemma Fleet: The International Birdman Contest is the earliest memory I have. It was Christmas, and I was sitting down watching that contest on the television in the old, first house that I lived in. I must have been two or three years old. The story of the song is that somebody has prepared for the contest for many years—they've got their outfit made, they’re ready to jump off the pier, they’re focused—and then Covid happens and it gets canceled for three years. **Wait, I’ve never heard of this competition before. Are people making literal bird costumes and trying to fly off the edge of a pier?** Gemma Fleet: Yeah! So they make an outfit—like a little bird, or an airplane made out of cardboard boxes, people put a lot of effort into the wings—and they run off the pier so they glide to see how far they get. Chris Taylor: They never get very far, but it’s about who can go the furthest. They just run. Sometimes people don’t even jump at the end of the pier, they just run as long as they can. Gemma Fleet: They’re not allowed to use anything electronic, motors, stuff like that. I’ve only watched it on the telly. It’s like the Olympics of small-town England. We have loads of really weird games that are based on ancient traditions. Down in Cornwall, they set tar barrels alight and run them through the village, flaming hot. There’s ones where they roll cheese wheels down the hills, or *you* roll down the hill, too. **Every song starts with Gemma saying the song title into the microphone. It gives this whole album the feeling of watching a very intimate live set. Why did you keep those titles at the beginning of each song?** Chris Taylor: It’s how we made phone demos to remember the songs, but it just stayed. I can’t tell you why, but it just felt like it was a part of the songs now. Gemma Fleet: We haven't continued to do it on these next releases, though. I think I got a bit bored of it. Maybe it’s because of how people consume music on Spotify and suddenly you have no idea what you’re listening to. Maybe on the next record I’ll introduce them with whole bios and background info. \[*laughs*\] **Between your new album, the split, and then this upcoming 7”, you’re really on a roll this year–both as a band and as collaborators branching outside of your scene. It’s exciting to watch it snowball.** Gemma Fleet: I think we just realized you can’t just sit around and wait for people to discover you. Reach out, travel, meet people, do what you can. Sometimes you can feel like making music is a bit desperate, so you’ve got to keep that community going. We’re lucky that we’ve connected with people, not just in our own city, but outside of it as well. I sound like Jerry Springer at the end now, don’t I? \[*laughs*\] Like *I* can give advice to people about how to do a band? I’m from a generation where listening to music was very curated, whether it was by people in charge of the radio or music magazines, but now everyone’s listening experience is completely unique. That’s great because it means what you listen to is no longer dictated by one guy at *NME*. Our sense of community has changed with that, too. Just because you’re a post-punk band doesn’t mean you can only play with or be friends with other post-punk bands. You can build a lineup with really different bands. Chris Taylor: Definitely. It’s wonderful getting to do more and try more. And to think so much of this wouldn’t have happened if we hadn’t all been friendly in our community or Andrew hadn’t reached out to Meritorio Records or we didn’t put ourselves out there. You just gotta take that swing. ### punk this week podcast 07: drug church + thine retail simps URL: https://see-saw.fun/punk-this-week-podcast-07-drug-church-thine-retail-simps/ Last updated: 2024-10-08T13:13:04.000Z ![audio-thumbnail](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/media/2024/10/punkthisweek07_mixdown_thumb.jpg) punk this week 07: drug church + thine retail simps 0:00 /2912.928 1× Punk This Week *is see/saw’s weekly podcast from co-hosts Evan Minsker and Nina Corcoran, breaking down the latest releases in the world of punk rock. Each episode highlights two records with brief discussions of an additional four.* In the seventh episode of *Punk This Week*, Evan and Nina discuss the new [Drug Church](https://purenoise.bandcamp.com/album/prude?ref=see-saw.fun) album and the latest from [Retail Simps](https://totalpunkrecords.bandcamp.com/album/strike-gold-strike-back-strike-out?ref=see-saw.fun). There’s also new ones from [Quarter Conscious](https://quarterconscious.bandcamp.com/album/palette?ref=see-saw.fun), [CLASS](https://nowthatsclass.bandcamp.com/album/a-healthy-alternative?ref=see-saw.fun), [Known Bloom](https://theundesirable.bandcamp.com/album/known-bloom-throw-away-places-undesirable-040?ref=see-saw.fun), and [Pressure Pin](https://pressurepin.bandcamp.com/album/polyurethane?ref=see-saw.fun). Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.fun). --- Further linking: - [thine retail simps interview on see/saw](https://see-saw.fun/thine-retail-simps-strike-gold-an-interview-about-the-new-album/) - [class interview on paperface](https://www.gimmepaperface.com/post/class-honestly-i-dont-think-we-anticipated-having-another-lp-out-almost-a-year-to-the-day-from-our?ref=see-saw.fun) - [drug church's patrick kindlon interview in anti-matter](https://antimatter.substack.com/p/in-conversation-patrick-kindlon-of) --- *Punk This Week* is made possible by see/saw subscribers; please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-06-soup-activists-atomic-prey/#/portal/) if you enjoy this podcast. ### punk this week: thine retail simps, class, chubby and the gang + 7 more URL: https://see-saw.fun/punk-this-week-thine-retail-simps-class-chubby-and-the-gang-7-more/ Last updated: 2024-10-04T16:31:20.000Z Welcome to [Punk This Week](https://see-saw.fun/punk-this-week-fentanyl-satanic-togas-7-more/), see/saw’s weekly column exploring the latest and greatest punk and rock’n’roll records. There are some truly heavy hitters in this week’s column, including the new albums from Thine Retail Simps, CLASS, and Chubby and the Gang. There’s also new stuff from Fan Club, Power Pants, and more. Do you want to read all the blurbs and learn about all the music? Punk This Week is available to paid subscribers (and [those who barter](https://see-saw.fun/bartering/) their way across the paywall). Free subscribers still have access to interviews, podcasts, playlists, and other weekly posts. [Please consider a subscription](https://see-saw.fun/punk-this-week-atomic-prey-feeling-figures-soup-activists-8-more/#/portal/), free or paid, to help grow this reader-supported endeavor. --- **Thine Retail Simps:** [***Strike Gold, Strike Back, Strike Out***](https://totalpunkrecords.bandcamp.com/album/strike-gold-strike-back-strike-out?ref=see-saw.fun) **\[Total Punk\]** *Strike Gold, Strike Back, Strike Out* is one of the best garage punk records of the year and, impossibly given the quality of the last two, the best Simps album. There’s a sloppiness to this music that’s irresistible. Take “O.B. On the Move,” which you could easily describe as a blues rock song. Some of the biggest rock bands in the world have done blues rock albums that relegate the blues to this museum piece. Simps play like they’re almost always about to come off the rails, screaming and shaking wildly. They write these excellent songs and then push them beyond their limits—shaggy, untenable rock’n’roll that’s completely riveting. (Learn more about it in their [interview on see/saw](https://see-saw.fun/thine-retail-simps-strike-gold-an-interview-about-the-new-album/).) [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/10/a1984285634_10.jpg)](https://totalpunkrecords.bandcamp.com/album/strike-gold-strike-back-strike-out?ref=see-saw.fun) --- _This post is for paying subscribers only._ ### punk this week podcast 06: soup activists + atomic prey URL: https://see-saw.fun/punk-this-week-podcast-06-soup-activists-atomic-prey/ Last updated: 2024-10-01T12:50:32.000Z ![audio-thumbnail](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/media/2024/10/punk-this-week-06_mixdown_thumb.jpg) punk this week 06: soup activists + atomic prey 0:00 /2544.648 1× Punk This Week *is see/saw’s weekly podcast from co-hosts Evan Minsker and Nina Corcoran, breaking down the latest releases in the world of punk rock. Each episode highlights two records with brief discussions of an additional four.* In the sixth episode of *Punk This Week*, Evan Minsker and Nina Corcoran discuss a week of releases that includes the new [tour tape from Soup Activists](https://soupactivists.bandcamp.com/album/ambrosia-and-linens?ref=see-saw.fun) and a phenomenal [EP from Atomic Prey](https://ironlungrecords.bandcamp.com/album/atomic-prey-lungs-274?ref=see-saw.fun), plus new records from [Kontrolle](https://kontrolleband.bandcamp.com/album/grau-2?ref=see-saw.fun), [Noids](https://noids.bandcamp.com/album/avoid-the-noids?ref=see-saw.fun), [Bad Dog](https://baddogofficial.bandcamp.com/album/into-the-pavement?ref=see-saw.fun), and [Black Button](https://dynasticyellowstarlabel.bandcamp.com/album/internal-life?ref=see-saw.fun). Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.fun). --- Further linking: - Soup Activists interviews on [Paperface](https://www.gimmepaperface.com/post/soup-activists-while-i-do-miss-fronting-a-high-energy-band-i-am-happy-and-excited-with-what-i-m-d?ref=see-saw.fun) and [see/saw](https://see-saw.fun/soup-activists-martin-meyer-on-the-new-album-and-life-after-lumpy/) - Kevin McCormick’s zine [*Somewhere the Air Is Right*](https://www.candelagallery.com/unbound/shop/p/mccormick-somewhere?ref=see-saw.fun) --- *Punk This Week* is made possible by see/saw subscribers; please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-04-fentanyl-gurriers-2/#/portal/) if you enjoy this podcast. ### playlist: the best punk songs of september 2024 URL: https://see-saw.fun/playlist-the-best-punk-songs-of-september-2024/ Last updated: 2024-09-30T13:56:37.000Z It’s been six months since I launched see/saw. Start-up projects usually have more infrastructure in place, or months of careful planning, or I don’t know, an attractive website. I had the name and a loose idea of what I wanted to do with it, but no logo or design or anything. I just kind of started churning out the work, hoping people would find it and connect with it. I’m pretty floored—nearly 1,600 people have tapped in overall. I was just in Milwaukee at the Unlawful Assembly shows earlier this month and a few people introduced themselves and wanted to talk about see/saw. It’s happened a couple times in Minneapolis and Detroit. Members of bands I’ve praised as a critic years ago have reached out to tell me how much they enjoy the newsletter and podcast. Six months ago, I’d barely figured out that I wanted to keep writing about music. I built this thing and people seem to like it, and honestly the feedback makes me feel pretty emotional. I was programmed by the old place to think about metrics, and I still think about metrics a lot. One paragraph ago, for example, I mentioned how many readers have subscribed. I have modest goal numbers that would mean “I don’t need a real job.” I’ve joked to my therapist about buying one of those giant fundraising thermometers and doing videos to illustrate my passion project’s financial progress, but just reek of comedic desperation. I imagine myself holding up charts detailing my various debts while sweating through my shirt. Sometimes I imagine see/saw with a boss, having to justify a [chat with the Sniffs](https://see-saw.fun/the-sniffs-will-return-once-theyve-recovered-from-their-arm-injuries/) when there’s not a new album out, or having to argue about how good the new Retail Simps album is in order to make sure [that interview](https://see-saw.fun/thine-retail-simps-strike-gold-an-interview-about-the-new-album/) happens, or explaining how much I love this haunted [EXO tape](https://see-saw.fun/exo-made-an-album-about-bugs-on-some-haunted-tapes/) about bugs. Instead, I get to just talk to my favorite bands whenever I want. I get to make a [podcast](https://see-saw.fun/tag/podcast/) with Nina Corcoran and put together radio shows. (Oh right, I’m [doing radio now](https://www.mixcloud.com/evanminsker/seesaw-radio-02/?ref=see-saw.fun), that’s new.) People keep telling me they’re into this stuff. Thanks to anyone who’s said that or put a few dollars behind this project. Tell one person you know about see hyphen saw dot fun. I’ll keep making stuff. [**see/saw: the best punk songs of september 2024**](https://bndcmpr.co/d2f2e93b?ref=see-saw.fun) Noids: Viernes Te Extraño Celebrity Sighting: Hourglass Alvilda: Angoisse Medium: Total Control CLASS: Scared to Care Fan Club: I Was a Stray Mitraille: Boring Man Laughing Sickness: Kick It Up Loosey: Marie Lothario: Black Hair Prison Affair: Isolation Satanic Togas: Illusions Artificial Go: Aphrodisiac Crayon Cats: Not the Best Day Stiff Richards: GFC The Okmoniks: AIn’t Comin’ In Soup Activists: Skeleton Fight Song Alien Nosejob: Medical Treatment Big Bopper: Ochlophobia Man-Eaters: Creepy Crawl Licklash: Party Line Spit Takes: Joyride Feeling Figures: The Falcon Geishas of Doom: Fish to Fry Waylon Thornton: Licorice Plazz Pt. 1 Rehash: King of Weimar The Carp: Will You Be the Freak Tube Alloys: Evil Angels BEEF: Seconhand Toe Jam G2G: Punkdom Gurriers: No More Photos Abandoncy: Scarlet Rot Black Button: Living Velvet Cicada: Much Worse Golpe: Golpe Hunny: WDTFU Pons: Nelson Hold (BUG) Fentanyl: Spiral Wasted Out: You Suckers!! Blitzo: Hunger Success: Wankers S.O.H.: Delirium Atomic Prey: Glue Pain Seminar: Cross My Heart Regional Justice Center: Pariah NOMAD: 立​ち​上​か​る Hase: Tam Tam Double Over: Repulsive Web SHOVE: Power Lizard Brain: Killer on the Street Achterlicht: Lucid Expest: Exterminate Texture Freq: So What? It’s the Future Chain Cult: Ending Things --- *If you enjoyed this playlist, please* [*consider subscribing*](https://see-saw.fun/#/portal/) *to this reader-supported publication.* ### punk this week: atomic prey, feeling figures, soup activists + 8 more URL: https://see-saw.fun/punk-this-week-atomic-prey-feeling-figures-soup-activists-8-more/ Last updated: 2024-09-27T15:51:16.000Z Welcome to [Punk This Week](https://see-saw.fun/punk-this-week-fentanyl-satanic-togas-7-more/), see/saw’s weekly column exploring the latest and greatest punk and rock’n’roll records. An outstanding debut album from Atomic Prey kicks things on a stacked week, which also includes a fantastic new full-length from Feeling Figures, an unbelievable tour tape from Soup Activists, some wild party Chilean rock'n'roll for fans of Guitar Wolf, some exceptional Richmond hardcore, and records from the Athens in Greece *and* Georgia. Do you want to read all the blurbs and learn about all the music? Punk This Week is available to paid subscribers (and [those who barter](https://see-saw.fun/bartering/) their way across the paywall). Free subscribers still have access to interviews, podcasts, playlists, and other weekly posts. [Please consider a subscription](https://see-saw.fun/punk-this-week-alien-nosejob-soh-regional-justice-center-7-more/#/portal/), free or paid, to help grow this reader-supported endeavor. --- **Atomic Prey:** [***Atomic Prey***](https://ironlungrecords.bandcamp.com/album/atomic-prey-lungs-274?ref=see-saw.fun) **\[Iron Lung\]** The Pacific Northwestern band Atomic Prey make obliterating d-beat hardcore where the maelstrom amplifies lyrics about hopelessness and deep-rooted anxiety. This is music about doom scrolling and seeing no light at the end of the tunnel. “El Sistema” is a Spanish-language takedown of capitalism and the fuck shit we have to accept on a day-to-day level. Atomic Prey made a six song LP where every second is potent and crucial, where every scream underlines exactly what it means to live in an unforgiving global political climate on an individual mental health level. The music is wild and the message is relatable. Go buy this. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/09/a3701581438_10.jpg)](https://ironlungrecords.bandcamp.com/album/atomic-prey-lungs-274?ref=see-saw.fun) --- _This post is for paying subscribers only._ ### thine retail simps strike gold: an interview about the new album URL: https://see-saw.fun/thine-retail-simps-strike-gold-an-interview-about-the-new-album/ Last updated: 2024-09-25T15:48:56.000Z Tha Retail Simps are dead. Theee Retail Simps are no more. We now welcome the era of Thine Retail Simps, whose excellent “debut album” *Strike Gold, Strike Back, Strike Out* arrives October 4 on [Total Punk](https://totalpunkrecords.com/?ref=see-saw.fun). The ever-changing definite article is obviously a prank. In its way, the Montreal band’s entire name is a prank. “As you’ve probably thought on your own terms, it’s kind of a stupid name in the first place,” says Joe C., who is speaking during a lull at his day job working for a Canadian indie label. “I always like starting new bands, so maybe it's just a way of keeping it fun—to make ourselves laugh.” Joe insists that Retail Simps weren’t a “real band” to begin with—a recording project that has grown into something gradually more legitimate (despite the seeming lack of reverence the band holds for anything resembling legitimacy). In 2020 during lockdown, Joe had recently landed back in his hometown of Montreal. He recorded a [12” under the name Itchy Self](https://drunkensailorrecords.bandcamp.com/album/heres-the-rub-12?ref=see-saw.fun) with rock’n’roll journeyman Chris Burns (whose own album came out this year on Joe’s label [Celluloid Lunch](https://www.celluloidlunch.com/?ref=see-saw.fun)). Within a couple years, he had more songs; Total Punk picked them up and released the phenomenal first Simps album [*Reverberant Scratch*](https://totalpunkrecords.bandcamp.com/album/reverberant-scratch-9-shots-in-tha-dark?ref=see-saw.fun). Simps is a band that occupies a space of its own in the 2020s with their ramshackle, rollicking, and oddly rapturous garage rock jams. They make songs that wouldn’t feel out of place on a playlist of tracks from the ’60s. It’s basement party music for crate digging rock’n’roll heads. *Strike Gold, Strike Back, Strike Out* is the best Simps album so far, which is pretty wild considering what they’ve done to date. It’s a truly collaborative effort with everybody switching up instruments from track to track. Joe sent over a breakdown of who plays what on each song, and there’s a pretty balanced and democratic division of labor. Prior to the album’s release, you won’t hear any of these songs, including their opening track theme song “Retail Simp$” or their Neil Young cover. After making goofy videos in the past to promote records, they decided to change course this time. “We felt like last time we took up a lot of space around the record with all these jokes online and everything,” he said. “We thought it would be fun to just try to include that spirit more into the actual record.” Get ready. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/09/a1984285634_10.jpg) **Tell me a bit about the decision to release the album without sharing singles beforehand?** It’s a couple things. The record is longer than usual and there’s more songs, so for one, there’s not really continuity in the sense that you can pick a song. Maybe I’m just an idiot, but we felt like it was kind of cool to just hear the whole record. And then it’s the third record, so it kind of seems like the pattern so far is people either really like the band or they really can’t be bothered and don’t care. I don’t think we’re really aiming to get more people on board. We’re just hopeful that everyone that liked it so far likes the new record. And Rich \[from Total Punk\] doesn’t care. **Since you have your own label, why do you work with Rich and put out all the Simps stuff on Total Punk?** Well it’s a lot of work to put out a record yourself, and also Rich is just the nicest, sweetest guy. And he got people to hear us. You probably wouldn’t have heard of us if I just released the record. I feel like we’re just on the same page for so much, plus he gets me and everybody else excited about it. Half the time, if we have mixes or something, I send them to Rich. He’s part of the band, almost. He weighs in from the beginning of the process of making a record, or even prompts us: “You guys should make another record.” I mean, we would do it anyway. **Obviously there’s this pranksterism built into the Simps aesthetic. When you’re in a room together, is the band pretty focused or do you goof around?** Our practices are pretty much like we meet up 45 minutes or an hour after we’re supposed to. We drink beer and chat for an hour, and then when we get down to playing music, we pretty much just blast through everything. I don’t even call out the songs, I just start playing them and we don’t stop playing music for like an hour. Then we have a break, and the breaks last long. **With the subtle changes in the band name from record to record, do you think of it as separate bands or the same one doing goofs?** I guess the second one, but it was kind of weird because the first record we weren’t even really a band. As soon as we started playing together we had really good chemistry, so now it really feels like a band. The name Retail Simps I think was just free association. I thought it sounded funny. I didn’t even know what it meant, the internet definition, and then Thomas explained that to me and that just made it seem even funnier. But I like coming up with band names. I’ve got a list at all times. **Wait, can I hear one?** One that I think is actually good that I will hopefully use at some point is Educated Fools. I’ve been jamming with my girlfriend. It’s not maximalist at all; it’s kind of shy sounding. I was saying a cool band name would be “Rock and Roll.” **You have some jams on the record that feel like they could stretch out for an hour. It’s maybe an odd question, but how do you know when to stop?** When we started making the record, we were talking about how it would be cool to make one of those Swell Maps-style records where it’s a lot of compact ideas that are a bit disjointed. Other than that, it’s the same people so you end up sounding the same no matter what. It’s possible we went into it with the idea of making short songs, but also sometimes if there’s a crazy jam—as there was because there were some hallucinatory aids involved and whatnot—sometimes you can just crop it after into the part that makes sense. **How long of a jam did you have to crop down?** We filled up two reels of tape that are like 35 or 45 minutes each. They’re not edited but some of the instrumental parts are just snippets of what was the most compelling part. **How did you arrive at the cover of Neil Young’s “Barstool Blues”?** We talk about Neil Young a lot. I just thought, “Oh, this would be a fun song to try.” It’s funny because it was kind of controversial. Chris doesn’t play on that song because he loves that song so much that he didn’t like that we were doing it. It was too holy. I had to emulate his guitar style the best I could and do all the solos. **This album feels structurally different from the last two. Candidly, I think it’s your best. What do you think of it?** That makes me happy. I’m excited to see what people think of it. I know it’s a bit long-winded and almost maybe a bit annoying to listen to potentially. It’s funny, I actually felt really good about it—we all did—and then Chris has the least involvement on this record. He kind of just laid his parts down in one or two sessions, but he was kind of holding back his opinions of it when we sent around the final mixes. Finally we cornered him and we’re like, “What do you think about it?” And he’s like, “No, it’s good, it’s not my place to say.” And we’re like, “Well no, we want to know what you think.” And he’s like, “Well, I just think you guys can’t sing. Like you’re trying to do all these harmonies but it sounds like shit.” And I basically forced him to tell me that and it kind of killed my confidence about it a little. **That’s surprising—the vocals don’t seem all that different from how they’ve always been.** I think there’s more harmonies. That was just a gut reaction. He might even change that opinion if he heard it again. It’s easy to get weird about a recording before anyone’s heard it. I don’t know if it’s good. We tried hard. **Do you know what the future is for Retail Simps? Will you keep making records?** We’ll probably just keep making records, but obviously our lives are not centered around the band because that would be foolish. Mine kind of is centered around making records and I think we all feel that way—we all have our own songs we write and everything. But it’s like people might move away, we all have jobs, people are going to start having kids soon. So I really don’t know, but I think we could probably keep up just making a record a year if Rich was still into it. --- *see/saw is a reader-supported publication. If you enjoyed this article, please consider a* [*subscription*](https://see-saw.fun/the-sniffs-will-return-once-theyve-recovered-from-their-arm-injuries/#/portal/) *to support this independent punk journalism operation.* ### punk this week podcast 05: regional justice center & alien nosejob URL: https://see-saw.fun/punk-this-week-podcast-04-fentanyl-gurriers-2/ Last updated: 2024-09-24T16:39:41.000Z ![audio-thumbnail](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/media/2024/09/punk-this-week-05_mixdown_thumb.jpg) punk this week 05: regional justice center & alien nosejob 0:00 /3436.392 1× Punk This Week *is see/saw’s weekly podcast from co-hosts Evan Minsker and Nina Corcoran, breaking down the latest releases in the world of punk rock. Each episode highlights two records with brief discussions of an additional four.* In the fifth episode of *Punk This Week*, Evan Minsker and Nina Corcoran discuss a week of releases that includes the trilogy concluding new album from Seattle’s [Regional Justice Center](https://regionaljusticecenter.bandcamp.com/album/freedom-sweet-freedom?ref=see-saw.fun) and the latest from the ever-prolific [Alien Nosejob](https://aliennosejob.bandcamp.com/album/turns-the-colour-of-bad-shit?ref=see-saw.fun). We also discuss new ones from [Celebrity Sighting](https://nightbellrecords.bandcamp.com/album/theyre-just-like-us?ref=see-saw.fun), [Lice](https://licebanduk.bandcamp.com/album/third-time-at-the-beach?ref=see-saw.fun), [S.O.H.](https://sohsystemofhate.bandcamp.com/album/cost-to-live?ref=see-saw.fun), and [Abandoncy](https://theghostisclearrecords.bandcamp.com/album/assailable-agonism?ref=see-saw.fun). Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.fun). *Punk This Week* is made possible by see/saw subscribers; please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-04-fentanyl-gurriers/#/portal/) if you enjoy this podcast. ### punk this week: alien nosejob, s.o.h., regional justice center + 7 more URL: https://see-saw.fun/punk-this-week-alien-nosejob-soh-regional-justice-center-7-more/ Last updated: 2024-09-20T12:00:00.000Z Welcome to [Punk This Week](https://see-saw.fun/punk-this-week-fentanyl-satanic-togas-7-more/), see/saw’s weekly column exploring the latest and greatest punk and rock’n’roll records. Alien Nosejob’s prolific streak of great-yet-unpredictable rock’n’roll records continues with *Turns the Color of Bad Shit*. The Madison scene’s got a crucial new record from Baby Tyler’s new group Celebrity Sighting. Cincinnati’s represented this week by Louse, while Cleveland arrives via the Carp. It’s all that plus a stellar Minneapolis hardcore debut and a wild one from Regional Justice Center. Do you want to read all the blurbs and learn about all the music? Punk This Week is available to paid subscribers (and [those who barter](https://see-saw.fun/bartering/) their way across the paywall). Free subscribers still have access to interviews, podcasts, playlists, and other weekly posts. [Please consider a subscription](https://see-saw.fun/punk-this-week-fentanyl-satanic-togas-7-more/#/portal/), free or paid, to help grow this reader-supported endeavor. --- **Alien Nosejob:** [***Turns the Color of Bad Shit***](https://aliennosejob.bandcamp.com/album/turns-the-colour-of-bad-shit?ref=see-saw.fun) **\[Total Punk/Anti Fade/Drunken Sailor\]** Alien Nosejob never offers the same record twice. Jake Robertson’s always pivoting, thinking about the next rock’n’roll vibe he’s going to fully inhabit. In some ways, this is the version of Jake that drew me in to begin with as a member of Ausmuteants. On “Bird Strike,” he’s accompanied by an ominous synth line as he screams about overarching doom. There are some stellar rock’n’roll hooks throughout this record, like on “The Ostrich” or “Trapped in Time.” I’m currently most obsessed with “Medical Treatment,” which feels like a new wave classic on the level of “Echo Beach.” After a hardcore record, some classic rock worship, and ’60s garage rock throwback, this one isn’t as clearly defined. It’s an Alien Nosejob record, and it’s time to acknowledge that Jake isn’t a chameleon trying to blend in—he’s an unbelievable songwriter with a distinct voice who happens to excel in seemingly every sphere. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/09/a2470045304_10.jpg)](https://aliennosejob.bandcamp.com/album/turns-the-colour-of-bad-shit?ref=see-saw.fun) --- _This post is for paying subscribers only._ ### punk this week podcast 04: fentanyl & gurriers URL: https://see-saw.fun/punk-this-week-podcast-04-fentanyl-gurriers/ Last updated: 2024-09-24T13:50:35.000Z ![audio-thumbnail](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/media/2024/09/punk-this-week-04_mixdown_thumb.jpg) Punk this week 04 mixdown 0:00 /2870.952 1× Punk This Week *is see/saw’s weekly podcast from co-hosts Evan Minsker and Nina Corcoran, breaking down the latest releases in the world of punk rock. Each episode highlights two records with brief discussions of an additional four.* In the fourth episode of *Punk This Week*, Evan Minsker and Nina Corcoran discuss a week of releases that includes the new records from the San Francisco hardcore outfit [Fentanyl](https://convulserecords.bandcamp.com/album/fentanyl?ref=see-saw.fun) and the Dublin post-punk band [Gurriers](https://gurriersdub.bandcamp.com/album/come-and-see?ref=see-saw.fun). We also get into new records from [Satanic Togas](https://goodbyeboozydigital.bandcamp.com/album/illusions-1998?ref=see-saw.fun), [Crayon Cats](https://crayoncats.bandcamp.com/track/not-the-best-day?ref=see-saw.fun), [Eastfield](https://growyourownrecords.bandcamp.com/album/terminus?ref=see-saw.fun), and [Cicada](https://unlawfulassembly.bandcamp.com/album/cicada-wicked-dream?ref=see-saw.fun). Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.fun). --- Further linking: - [The Jesus Lizard’s Duane Denison interview in see/saw](https://see-saw.fun/the-jesus-lizard-have-nothing-to-prove-to-you/) - [Crayon Cats’ “Labrador” music video](https://www.youtube.com/watch?v=gklyUt6Rgtg&ref=see-saw.fun) - [Gurriers interview in *NME*](https://www.nme.com/features/music-interviews/gurriers-interview-come-and-see-radar-3785885?ref=see-saw.fun) - [Satanic Togas interviews in *Gimmie*](https://gimmiezine.com/tag/satanic-togas/?ref=see-saw.fun) --- *Punk This Week* is made possible by see/saw subscribers; please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-03-public-opinion-texture-freq-2/#/portal/) if you enjoy this podcast. ### exo made an album about bugs on some haunted tapes URL: https://see-saw.fun/exo-made-an-album-about-bugs-on-some-haunted-tapes/ Last updated: 2024-09-16T13:53:02.000Z Anahit Gulian, Nyle Kaliski, and Anna Cataldo are EXO, a Brooklyn band that created [a tape](https://roachlegrecords.bandcamp.com/album/demo-11?ref=see-saw.fun) about insects. It’s punk music with deft synth touches, equal doses tough and ethereal. The lyric sheet stuffed into the cassette was printed on translucent vellum. “That was really important to us,” Anna said. All three members of the band sat in Anahit’s bedroom reminiscing about what brought them to this point. “The guy printed it all on non-translucent vellum which I didn't even know was a thing. I was like, ‘No it's got to be translucent, we'll do it ourselves,’” Anahit said. The band had committed fully to the idea of tactility and the ethereal nature of insects. This detail was crucial. At various points working together, a lot of decisions came into focus for EXO about bugs. It was a creative midpoint for the trio, a way to collaboratively write songs beneath the same banner. Every sound had to evoke the sound of an insect. Each member brought lyrics interpreting a title like “Butterfly” or “Ladybug.” They wrote a full-on grant proposal, digging as conceptually deep as they possibly could with this project. What an incredible thing, to find friends who commit this hard to the research, the concept, the art. Anahit was born in Armenia, moved to the U.S. suburbs at 6, and landed in New York to go to Pratt Institute for writing. She met Nyle in the punk scene, and they formed the band [Nandas](https://nandas.bandcamp.com/album/ep-ii-2?ref=see-saw.fun), who put out two EPs on Toxic State. Multiple times over the years, they were on the same bills with Anna’s bands including [Exit Order](https://exitorder.bandcamp.com/album/s-t?ref=see-saw.fun). She was living in Boston at the time. “Eventually, probably 10 years too late, I got myself out of there and moved ot New York,” Anna said. The project started prior to the COVID-19 lockdown. “There was a period of probably a year where we couldn’t really be in the same room with each other,” Anahit said. EXO passed recordings back and forth as part of their workflow across long stretches of time. “It has the mark of several different eras in the last five years,” Anna said. Nyle added: “And it’s charged with isolation.” [DEMO by EXO](https://roachlegrecords.bandcamp.com/album/demo-11?ref=see-saw.fun) **As songwriters, what brought you to insects and bugs?** Nyle Kaliski: I think it happened really naturally. Anna Cataldo: Yeah, I think it was just a silly idea at first or something. At practice one day we were like, “OK, that’s what we’re doing.” Nyle Kaliski: What started it? I guess a lot of the first riffs had insect themes already. Anahit Gulian: In my mind, I was like, I don’t know what to call these songs we’re just throwing riffs into. I just picked bugs for them. It was “Butterfly Waltz.” Nyle Kaliski: Yeah originally, they had dances. Anna Cataldo. “Ladybug Samba.” Anahit Gulian: But I think as it evolved for me, it made it easier to write the lyrics. I don’t know if you guys felt that way too, but it was easier writing lyrics and being like, “This is about a butterfly,” and that way we could all contribute whatever to it and it would be from the point of view of this fourth being. **There’s so much about fragility in this record. Is that your experience of it? Is that intentional?** Anna Cataldo: I think we were thinking about the shortness of the lifespan of an insect and how much happens in a very small amount of time. We were thinking a lot about grief and death writing this record, the music and the lyrics. The idea of these tiny little creatures that are embodied entirely by instinct and their whole lifespan takes up the same amount of space and shines as brightly as their death, their mating season, things like this. It was kind of by accident that we started writing this record about bugs, but then once we turned that corner, we threw ourselves entirely into them. Every sound that’s on there, it had to be breathed by some sort of insect creature. We got kind of obsessed with it. Anahit Gulian: I would say the initial pass of writing riffs and putting drum beats and stuff, I don’t know if we were thinking about the specific bugs at that time, right? But then once we started adding synth layers, I would say that’s when things got really buggy. Nyle Kaliski: I feel like it happened in like a real cross-pollination in a certain way because we worked on it for so long, like over the course of a few years, we had like different incarnations and then like different sounds would kind of like influence the outcome of different songs. Toward the end, I feel like we just kind of loaded it up. \[*laughs*\] Especially because bugs do have this duality of being hardened and unkillable or something but then also incredibly delicate and fragile. It kind of left us a pretty wide berth for sound. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/09/a3483421593_10.jpg) **Is EXO short for exoskeleton?** All: Yeah. **Did the band name come before the bug theme or did it all happen at once?** Nyle Kaliski: We applied for a grant and we had to come up with a name. Anahit Gulian: Originally we called our band Linda Linda, have you ever heard that song by the Blue Hearts? We just all love that song, and I don’t know, we just called it that. Anna Cataldo: It was our pet name. Anahit Gulian: But then this other band from L.A. of teenage girls, they’re all in middle school and very talented, *they* started a band called the Linda Lindas and they blew up. We were like, “Shit, now we have to change our name.” Nyle Kaliski: We had to give it to them. **So wait you didn’t get the grant, what the fuck?** Anna Cataldo: It’s very competitive. I think we were just feeling ambitious and like we had so much conceptual drive. Nyle Kaliski: I’m thankful, though! I feel like if we hadn’t applied for it, we wouldn’t have gotten our shit together. It was a little bit of a galvanizing moment. Anahit Gulian: It forced us to write a bit of a manifesto for ourselves. Anna Cataldo: Which felt really good at the time. I think maybe we just had some shit to say. **It’s hard not to hear a decent amount of allegory. How much of it is reflective of the experience of being a fragile person existing in the world?** Anahit Gulian: It’s kind of interesting because I feel like there’s this political weight to it, for me at least. Whenever you pity other humans, you compare them to insects. It’s a way of saying, “Oh these poor wretched creatures, let’s zoom out on them crawling like ants. I also watched this Japanese movie called *The Insect Woman* once that really freaked me out because the allegory was that she would do anything to survive. That’s why she was an insect woman. She was not a good character. She did shitty things, like, “Oh I don’t want to root for her.” But she’s trying to survive! So there’s a double meaning to it for me, I guess. Fragility and hardness. **I feel like it’s hard for punk records to convey those two things concurrently. For a lot of bands there’s rage or there’s not; this rides the line.** Nyle Kaliski: I don’t wanna be like, “Nah, it’s not hard.” But because we’re close friends, we have a shared ideology as far as our own capacity to be fragile in a not-so-fragile environment. We’re coming up in scenes where there *is* a lot of aggression and we exist straddling a performative line of having to be on one side or the other as far as strength. Not to put us in a box, maybe they don’t feel that way, but maybe there’s an element of play for us in there. It’s maybe not so much the point of the record, I don’t know if we had it at the forefront of our mind, but it’s projected in the experience of making it or something. Anna Cataldo: I feel that. Anahit Gulian: All three of us, we love punk, but we also love synth-pop and ambient music and things that are pretty and vulnerable. And I think when we started this band, we were hoping to be able to do something a little bit less just in the punk box and be able to record the kind of music that we love and didn’t know how to make yet. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/09/unnamed-3.jpg) EXO, courtesy the band **Conceptually it comes from such a fascinating place, but since it spanned years, I’m really curious about the process of making something like this.** Anahit Gulian: It was a process. I learned how to play bass so I could play bass on this recording, and then subsequently unlearned it. The way we did it was Anna and Nyle mostly wrote the riffs together then taught them to me on bass. Once we got to a good place with the heavy instruments, then we did the stage of “now we’ve got to figure out the synth,” and then we recorded all that. Anna Cataldo: I think the most important secret to the EXO recordings is that we had a little help from a few very haunted old cassettes. It offered a voice from somewhere outside ourselves that we would not have been able to create without them. The first time we were graced by our haunted cassette was when we were recording the loud instruments—the bass, guitar, and drums—and our friend Kevin was recording us on an 8-track on cassette, and we got to the very last song that we were recording that day. We finally got a good tape and listened back and realized the tape had started warbling. Nyle Kaliski: I bought Tascam tapes from an electronic store in the city, and I looked at them and I was like, “These look like original Tascam tapes from the ’70s,” and they were sealed. I was like, “Oh that’s funny, they look like old vintage-style tapes.” And then we were recording and I was like, “Oh shit, no, these are like melted Tascam tapes.” But in a kind of magical way! Whatever warped and distortion things that were happening happened in a way that nestled our song in it perfectly. Anahit Gulian: Basically the entire side B of that tape, we just indulged that ghost. We decided to play weird shit over it and scream weird shit onto this broken tape. And that was just one stage of the process! Because then after that we had to figure out how to sing. At least I had never sang. I sang in a punk band and that was very different. We had to write the lyrics, figure out how to score them, and who should sing what. That was, for me, the mindbreaker. That was the newest, weirdest thing. **Do you think you’ll play shows as EXO?** Anahit Gulian: It’s sort of impossible now. Nyle Kaliski: We would need the ghost. **Is there a next move?** Nyle Kaliski: We were talking about maybe making one where all the songs were about underwater animals. ### punk this week: fentanyl, satanic togas + 8 more URL: https://see-saw.fun/punk-this-week-fentanyl-satanic-togas-7-more/ Last updated: 2024-09-13T12:46:00.000Z Welcome to Punk This Week, see/saw’s weekly column exploring the latest and greatest punk and rock’n’roll records. This week there’s Fentanyl’s wild new self-titled album, a drop from the trusted hands at Goodbye Boozy, plus sick new ones from Hunny, Cicada, Geishas of Doom, MK Ultras, and more. Do you want to read all the blurbs and learn about all the music? Punk This Week is available to paid subscribers (and [those who barter](https://see-saw.fun/bartering/) their way across the paywall). Free subscribers still have access to interviews, podcasts, playlists, and other weekly posts. [Please consider a subscription](https://see-saw.fun/punk-this-week-lothario-prison-affair-artificial-go-8-more/#/portal/), free or paid, to help grow this reader-supported endeavor. --- **Fentanyl:** [***Fentanyl***](https://convulserecords.bandcamp.com/album/fentanyl?ref=see-saw.fun) **\[Convulse\]** Is there a punk song that’s ever been released that I relate to more than “Spiral” by Fentanyl? Across this record, the San Francisco hardcore band’s bright, clean guitars complement but fail to buoy the raw desperation of Kenny Turner’s intense vocals. “When one thing is wrong/Everything is/When nothing is wrong/Everything is/And I spiral.” There’s a steady chug to the rest of the band’s performance, making this all-or-nothing approach sound like a grim routine. This is a full-on “I am the problem” album—hardcore about self-loathing, about the shadow rearing its head and baring its teeth. The band not sounding nearly as dark as Turner’s intense voice offers a crucial steadying, but it’s oddly affirming hardcore through the mire. In its way, *Fentanyl* reminds us to figure out how to like ourselves. Sometimes that shit is impossible. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/09/a3294102642_10.jpg)](https://convulserecords.bandcamp.com/album/fentanyl?ref=see-saw.fun) --- _This post is for paying subscribers only._ ### the sniffs will return once they’ve recovered from their arm injuries URL: https://see-saw.fun/the-sniffs-will-return-once-theyve-recovered-from-their-arm-injuries/ Last updated: 2024-09-11T14:28:37.000Z “I injured my tricep,” said the Sniffs’ frontman James D., who was sitting at a picnic table on the sidewalk outside a bar in the Takoma Park neighborhood of Washington, D.C. “I was playing a lot of fast power chords in sequence and somehow damaged my right tricep. I have hypermobility, so it makes stuff more likely to injure. I also got tendonitis in my elbows two years ago.” The pain was getting to his rotator cuffs, so he arrived to this interview fresh from physical therapy, which he’d been doing for a month. Wildly, he’s not the only member of the 13-year-old D.C. punk band the Sniffs dealing with an arm issue at the moment. “Our drummer Lennon injured his elbow—he has some tendon issues.” Their bassist Chach was dealing with a rotator cuff injury that lasted a few months, but at the time of our chat in late May, he’s doing better. Currently, the Sniffs are on hold after releasing their sixth record [*VI*](https://thesniffs.bandcamp.com/album/vi?ref=see-saw.fun) on Bandcamp last summer. It’s a record of sneering post-punk with a melodic bent toward garage rock. What started as a straightforward garage rock band has morphed gradually into more of a post-hardcore project. “I really like odd time signatures,” James said. He decided to call the band the Sniffs because of a nickname some old bandmates had given him. “They called me Jimmy Sniffs because of my allergies,” he said. “The first few shows I wore sunglasses when I played because I had this whole idea that I’m gonna have this attitude and be arrogant and offensive. Our demo has some dumb songs in it. We kind of abandoned that.” He wants to be called James D. in this piece, and it’s honestly tempting to only refer to him as Jimmy Sniffs. He doesn’t play the part anymore, but it’s still a great punk name. Amid the injuries and break, there’s no threat of the band fully going away. After two hardcore bands fizzled in the 2000s, James decided to stop relying on other people for his creative outlets. “I was in a hardcore band that only lasted two shows, so I was like, ‘I want to do a band that can’t break up—it’s just me and I’ll replace people if they quit or whatever,’” he said. The rotating lineup concept didn’t last; the band’s current lineup—James, Chach, and Lennon—have been playing together for about a dozen years now. They take long breaks from time to time. This is one of them. They have some new songs that’ll see the light of day eventually. This interview took place over four months ago and the Sniffs are all feeling better. They just need to get together and practice. [VI by The Sniffs](https://thesniffs.bandcamp.com/album/vi?ref=see-saw.fun) **Did you grow up in D.C.?** I was born in D.C. I should tell you my Fugazi story. I grew up in the Tenleytown area where Ian MacKaye went to high school. I was in ninth grade, and I had a friend in high school who got me into punk. One day, my mom is taking Italian lessons at night someplace. She’s like, “Oh, I met this guy in Italian class named Joe and he says he’s in a punk band called Fugazi.” He was taking lessons because his wife is Italian. Joe \[Lally\] gave her a cassette of *Red Medicine* and she’s like, “We’re going to listen to this tape during dinner.” At that point I was into this local punk band called the Goons; they were like the Casualties, that type of punk. So when we listened to *Red Medicine* during dinner I was like, “This isn’t punk, what is this?” We went to see them at Fort Reno later that year—I saw them there two or three times. My mom went with me and was like, “Hey Joe, can you autograph this CD?” It was *Repeater + 3 Songs.* He took the “o” in the word “songs” and wrote a “j” and “e” on either side; that was his signature. **Did you guys put *VI* out anywhere but Bandcamp? Is there a physical copy?** The Sniffs are kind of lazy in getting merch made. That’s another thing that’s held us back, I think. I used to be more motivated to get band shit done. We could’ve gotten cassettes made for the stuff we put out last year, and I kept meaning to do it, but I just never could motivate myself to do it. **You should do it. The record is great.** It’s hard because being in a band is more than just doing the music and doing songs. It’s also talking to people, meeting people, being social with people, going out to shows, making connections. Six months ago I moved out to Arlington, Virginia, which is a little bit further from where most of the shows are. If I want to go to a show at Rhizome \[in Takoma Park\], to get here from my house, it’s like I don’t know, half hour, 45 minutes depending on traffic? So I’ll just stay home. **We’re a similar age—do you also have to contend sometimes with the discomfort of being the older dude hanging at the DIY space?** It’s weird. Part of me is like I want to get into indie rock. I don’t know if I want to be in a sweaty basement anymore. There’s certain things I still love, but then I listen to most indie rock and it’s kind of slow and boring. It’s really hard to find the sweet spot. Six months ago, I got really into that band Alvvays. They’re great. They have some punk influence. They’re noisy and distorted, but great melodies, great vocals. There are a few other bands that are cool, but they don’t have the songwriting. **Do you think of the Sniffs as a band that could expand out toward indie rock?** Oh yeah. We’ll do jams that get weird. Our newest songs are kind of hardcore actually. My favorite band, if I had to pick one, is Hot Snakes. That's kind of my guiding light. We’re expanding, trying to be different. I had this idea, so Rhizome has a lot of experimental music, like improvised free jazz and stuff. Some of our jam sessions are really cool, but an improvised set of jam stuff could be different. Punk bands don’t do that, so it’d be fun. **Do you see the Sniffs as a band that could age with you? Is it a band you’ll still be doing when you’re 50?** I will say this—we’ve been playing music together for 12 years and we’re all still friends. That’s honestly pretty remarkable and very rare. Most bands break up after a couple years, so that’s really cool and I’m really grateful for that. We all are very in sync when we write songs. It’ll always be a band that we’ll do from time to time. --- *see/saw is a reader-supported publication. If you enjoyed this article, please consider a* [*subscription*](https://see-saw.fun/billie-starkz-blames-her-mom-for-getting-her-into-punk/#/portal/) *to support this independent punk journalism operation.* ### punk this week podcast 03: public opinion & texture freq URL: https://see-saw.fun/punk-this-week-podcast-03-public-opinion-texture-freq-2/ Last updated: 2024-09-10T12:07:13.000Z Punk This Week *is see/saw’s weekly podcast from co-hosts Evan Minsker and Nina Corcoran, breaking down the latest releases in the world of punk rock. Each episode highlights two records with brief discussions of an additional four.* In the third episode of *Punk This Week*, Evan Minsker and Nina Corcoran discuss a week of releases that includes the new records from Denver rock band [Public Opinion](https://publicopinion.bandcamp.com/album/painted-on-smile?ref=see-saw.fun) and the Southern Minneapolis hardcore outfit [Texture Freq](https://dirtcultrecords.bandcamp.com/album/what-may-come?ref=see-saw.fun). We also discuss new records from [Artificial Go](https://artificialgo.bandcamp.com/album/hopscotch-fever?ref=see-saw.fun), [Skullpresser](https://skullpresser.bandcamp.com/album/positions-of-power?ref=see-saw.fun), [Lothario](https://lotharioxx.bandcamp.com/album/hogtied?ref=see-saw.fun), and [the Okmoniks](https://theokmoniks.bandcamp.com/album/afterparty-fever-lp?ref=see-saw.fun). Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.fun). --- Further linking: - [Artificial Go interview in Paperface](https://www.gimmepaperface.com/post/artificial-go-playing-music-together-has-felt-like-playing-hopscotch-on-a-sunny-day?ref=see-saw.fun) - [Public Opinion interview in Treble](https://www.treblezine.com/public-opinion-new-album-painted-on-smile-track-by-track/?ref=see-saw.fun) --- *Punk This Week* is made possible by see/saw subscribers; please [consider a subscription](https://see-saw.fun/punk-this-week-podcast-02-the-bug-club-kerosene-kream/#/portal/) if you enjoy this podcast. ### punk this week: lothario, prison affair, artificial go + 8 more URL: https://see-saw.fun/punk-this-week-lothario-prison-affair-artificial-go-8-more/ Last updated: 2024-09-06T15:20:02.000Z Welcome to Punk This Week, see/saw’s weekly column exploring the latest and greatest punk and rock’n’roll records. This week there’s an exceptional debut album from Melbourne’s Annaliese Redlich and her project Lothario, a stellar introduction to Cincinnati’s young art punks Artificial Go, the fourth and final demo from Prison Affair, a standout 7” from Minneapolis’ Texture Freq, and so much more. Do you want to read all the blurbs and learn about all the music? Punk This Week is available to paid subscribers (and [those who barter](https://see-saw.fun/bartering/) their way across the paywall). Free subscribers still have access to interviews, podcasts, playlists, and other weekly posts. [Please consider a subscription](https://see-saw.fun/punk-this-week-the-bug-club-exit-mould-8-more/#/portal/), free or paid, to help grow this reader-supported endeavor. --- **Lothario:** [***Hogtied***](https://lotharioxx.bandcamp.com/album/hogtied?ref=see-saw.fun) **\[Under the Gun\]** In the opening tracks of the Lothario album *Hogtied*, Annaliese Redlich is some combination of horny, depressed, and tough as fuck. The moodboard is black leather, chain punk, and one night stands. “Drunk Fuck” and “BBBF” are raunchy as it gets, and while there’s a mid-tempo gradual burn to a lot of these songs, “Panter” is fast and lopsided hardcore about fucked up family dynamics. It’s easy to hear Jay Reatard’s melodic tendencies and grim love stories in “Missing Person,” though nothing’s darker than “Suckhole,” a portrait of domestic violence. The album ends with a triumphant Gerry Rafferty cover, which fits perfectly with a perfectly defined aesthetic from Redlich. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/09/a3354692483_10.jpg)](https://lotharioxx.bandcamp.com/album/hogtied?ref=see-saw.fun) --- _This post is for paying subscribers only._ ### billie starkz blames her mom for getting her into punk URL: https://see-saw.fun/billie-starkz-blames-her-mom-for-getting-her-into-punk/ Last updated: 2024-09-04T13:21:22.000Z *“*[*Record Exchange*](https://see-saw.fun/tag/record-exchange/)*” is a series of conversations between see/saw and a fellow punk enthusiast. Each person brings two songs to discuss. The latest installment is a chat with Billie Starkz, the 19-year-old wrestler signed with All Elite Wrestling and Ring of Honor.* Speaking from her home in Orlando, Billie Starkz had been up for hours painting bubble guns and wrestling gear for her entrance at Supercard of Honor 2024\. Starkz used to walk out with a giant beat-up mascot head to Blink-182 on the indies. Now she’s headlining pay-per-views for Tony Khan’s [Ring of Honor](https://www.watchroh.com/?ref=see-saw.fun). Right now, she’s cramming as much crafting time she can fit into the window before flying out to Philadelphia the next morning. “I've been gone the full week between the indies and AEW, so I don't even know what my house looks like anymore,” she says. Starkz was the inaugural Ring of Honor Women’s Television Champion, and while she lost the title in Philly the day after we spoke in July, she’s made a name as a show stealer in ROH. Days after she turned 19 late last year, she had a classic world title match with her on-screen mentor. “That first pay-per-view match with Athena, I knew while it was happening: ‘Oh, that was a moment.’” Having started wrestling at 13, she was indoctrinated into pop punk music from a younger age. “My mom was the reason I got into a lot of punk. A lot of my childhood, that's what she would listen to, so I was just dragged in by association.” Her mom’s bands were Blink-182 and Weezer. Starkz starts each day with a playlist that currently features Blink, the Wrecks, Billie Eilish, and of course, Chappell Roan. **Billie’s pick: The Wrecks’ “Favorite Liar”** This is a song I found in high school and I actually used it for one of my final projects high school year—I made a video of all the fun things I did in high school, a mix of like wrestling and hanging out with friends, so it definitely holds a special place in my heart because of that. I literally got introduced to the song in a theater room after school and they were like, “Hey let's listen to music!” This was somebody's pitch and I fell in love with it and it got added to my playlist that day. It was a senior that I met freshman year. He graduated and did his own thing after that but I remember him my freshman year being like the *cool theater kid*. I did three years of theater and one year of stagecraft. I just remember I got to be fight director for one of the plays. I can’t remember the name of the play for the life of me. I just remember being able to do the fight scene and getting to throw somebody off the stage. It was great. I feel like it's one of those car ride playlist songs when you’ve been driving for 12 hours and this is in the last couple hours and picks you up. When I was still in high school, it was like if you had a Sunday show, “We're driving all the way home to get you back for school!” ***How did you stay awake at school?*** I was very lucky that I had parents that would drive for me so I could sleep on the ride home, but a lot of times even in class, I got my work done so fast. I was just one of those people, I would always finish first, like, “This is easy, OK I’m done, I’m gonna take a nap now.” And none of my teachers questioned it because it’s like I’m pulling up the school, let me rest, knock this crap out, and I’m heading home. \[*laughs*\] **see/saw’s pick: Itchy & the Nits’ “**[**Parasites**](https://totalpunkrecords.bandcamp.com/track/parasites?ref=see-saw.fun)**”** [Worst Of by ITCHY & THE NITS](https://totalpunkrecords.bandcamp.com/album/worst-of?ref=see-saw.fun) I love the album cover alone with just their heads popping out of flowers. I honestly enjoy it—I wouldn't listen to it in car rides, but if I’m doing work around the house, I will put stuff on like that. In car rides if it’s something I can’t physically sing to and jam out to? I can’t click with it. It’s just too fast-paced for me. It would be fun background music. **Billie’s pick: Blink-182’s “Aliens Exist”** I blame this all on my mother. It was the first theme song that I found where I was like, “Yeah, this is me, this is who I want to be as a wrestler.” Everybody I showed it to was like, “Yeah, this is it.” I remember coming out to it in the first match I used it and I just felt the energy going out. Doing my match that night, I felt different, like that collective calm-but-energetic energy. The standout match for me was when I [wrestled Nick Wayne](https://www.youtube.com/watch?v=MXUwxFCDsDc&t=3279s&ref=see-saw.fun) at JCW for his birthday. I remember coming out to Blink-182 and the whole crowd was singing it. They just were cheering for Nick going crazy. And I came out and I was like, “Y'all are nuts.” I [wrestled Masha \[Slamovich\] at ETU](https://www.youtube.com/watch?v=IyLv2Mt0TnU&pp=ygUhYmlsbGllIHN0YXJreiBtYXNoYSBzbGFtb3ZpY2ggZXR1&ref=see-saw.fun) a while back, and I was so nervous before this match for some reason. And as soon as my music started playing, I heard the crowd light up like a light bulb. And I was like, “Oop! It’s gonna be a good night. There's no need to worry.” And I went out and had one of the most fun matches of my career. **see/saw’s pick: Billiam’s “Maid Dress”** That was sick! I like the video, it's very themed and it has a color going with it the whole time. And his energy throughout the thing is very, very consistent. ***I’m only just now realizing between the dyed hair and mascot head…*** Yeah, we’re twins. --- *see/saw is a reader-supported publication. If you enjoyed this article, please consider a* [*subscription*](https://see-saw.fun/the-jesus-lizard-have-nothing-to-prove-to-you/#/portal/) *to support this independent punk journalism operation.* ### punk this week podcast 02: the bug club & kerosene kream URL: https://see-saw.fun/punk-this-week-podcast-02-the-bug-club-kerosene-kream/ Last updated: 2024-09-03T13:45:31.000Z ![audio-thumbnail](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/media/2024/09/punk-this-week-03_mixdown_thumb.jpg) Punk this week 03 mixdown 0:00 /2705.04 1× Punk This Week *is see/saw’s weekly podcast from co-hosts Evan Minsker and Nina Corcoran, breaking down the latest releases in the world of punk rock. Each episode highlights two records with brief discussions of an additional four.* In the second episode of *Punk This Week*, Evan Minsker and Nina Corcoran discuss a week of releases that includes the new records from Welsh road dog duo [the Bug Club](https://thebugclub.bandcamp.com/album/on-the-intricate-inner-workings-of-the-system?ref=see-saw.fun) and Stockholm garage punks [Kerosene Kream](https://kerosenekream.bandcamp.com/album/buying-time-ep?ref=see-saw.fun). We discuss the merits of Ty Segall’s all percussion album [*Love Rudiments*](https://tysegall.bandcamp.com/album/love-rudiments?ref=see-saw.fun), plus new records from [the None](https://thenone.bandcamp.com/album/matter?ref=see-saw.fun), [Exit Mould](https://exitmould.bandcamp.com/album/ep?ref=see-saw.fun), and [It Thing](https://itthing.bandcamp.com/album/spirit-level?ref=see-saw.fun). Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Thanks to [Tyler Nickell](https://www.tylrnckll.com/?ref=see-saw.fun) for the podcast’s artwork. Find *Punk This Week* on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun), [Spotify](https://open.spotify.com/show/4SexvJTLIAaEQf2VdE6bti?si=6d3f1be3a71a466c&ref=see-saw.fun), [Amazon Podcasts](https://music.amazon.com/podcasts/a93cd3cd-c53a-4559-b4d7-534b2ad544e3/punk-this-week?ref=see-saw.fun), and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.fun). --- Further linking: - [The Bug Club interview about songwriting on 3voor12](https://www.youtube.com/watch?v=i0ZUJTPKucU&ref=see-saw.fun) - [Ty Segall chat about *Love Rudiments* on 15 Questions](https://www.15questions.net/interview/creative-profile-ty-segall/page-1/?ref=see-saw.fun) --- *Punk This Week* is made possible by see/saw subscribers; please [consider a subscription](https://see-saw.fun/#/portal/) if you enjoy this podcast. ### playlist: the best punk songs of august 2024 URL: https://see-saw.fun/best-punk-songs/ Last updated: 2024-09-02T13:58:53.000Z In the past month, my ambitions for what see/saw could be really took off. Some of it’s still simmering in the background, but the most notable thing is [a new podcast](https://see-saw.fun/punk-this-week-podcast-01-fake-fruit-melt-banana/) called *Punk This Week* with Nina Corcoran. I launched it both because I think there’s space for a podcast version of the [weekly see/saw punk column](https://see-saw.fun/tag/punk-this-week/) and so I can talk to my friend about music every week. I’m tickled about it, honestly. Nina rules, and her perspective on punk is one that I endlessly respect. Part of what makes the podcast feel special is how we both arrive to it with different touchstones. I started see/saw to write about punk, but with just my voice, you’re only getting one hue in this vibrant technicolor world of crazy music. It’s the same reason I was beyond excited about David Anthony’s thoroughly researched and thoughtful [interview with Duane Denison](https://see-saw.fun/the-jesus-lizard-have-nothing-to-prove-to-you/) from the Jesus Lizard. Gem Fair [reported on this year’s Skull Fest](https://see-saw.fun/the-5-best-of-skull-fest-2024/) from so deep within its ranks he was literally photographed holding a friend’s baby—the president of Skull Fest. see/saw also launched its most ambitious feature to date: an [oral history of Hank Wood and the Hammerheads’ *Stay Home!!*](https://see-saw.fun/hank-wood-and-the-hammerheads-stay-home-at-10-an-oral-history-2/). The feedback on that piece was extremely encouraging. I also [chatted with Billiam](https://see-saw.fun/billiam-has-a-hard-time-believing-in-billiam/) about self-esteem and the creative process. A lot of intense and positive conversations in August. I’ll leave you with four calls to action: - [Subscribe to see/saw](https://see-saw.fun/#/portal/) if you haven’t. - [Buy a shirt if you want](https://see-sawdotfun.myshopify.com/?ref=see-saw.fun). - [Check out, subscribe to, and review the podcast](https://podcasts.apple.com/gb/podcast/punk-this-week/id1765148130?ref=see-saw.fun). - Tell a friend about see hyphen saw dot fun. There’s always more coming from see/saw. For now, listen to the best songs from the past month. Happy Labor Day. Unions forever. **see/saw: the best punk songs of august 2024** Baby Tyler Band: Needs The Gobs: Hologram Dame EXO: Butterfly La Llama: Combustión Billiam: Hydraulic Press The None: Plow The Bug Club: Quality Pints Jacket Burner: She’s So Boring Booji Boys: Promo Tape Easers: Burnt Alive Gel: Persona Big Baby: Ready to Kill H8 Mile: Go Out Hasty: Did You Know? JRDN and the Switchblades: No Sun General Baxter: Dumb Luck The MFC: Nightmare Baby Straight Arrows: Don’t Shoot Me Guiding Light: Magpie Media Puzzle: Hahahaha! Chris Burns & His Going Concerns: Things Overheard Total Hell: Satanic Fist Rixe: Tir Groupé Human Trophy: Only a Knife 鏡 KAGAMI: Tough Guy Fentanyl: Detached Texture Freq: Golden Pavilion Ultra Lights: Wasted Again Temporary Curse: Time to Spare Thyroids: Don’t Ask, Dumbass Fake Fruit: Gotta Meet You Bad Anxiety: Committing Crimes Homemade Speed: Mocking System Bless: Death//Content Pissmixer: Dog’s Maze Exit Mould: Jackhammer ZIPPO!: Wisconsin Acterlicht: Why Can’t I Bananagun: Free Energy Kerosene Kream: Psychedelic Ranger Cammy Cautious and the Wrestlers: Pick It Love Collector: First Night of Leather It Thing: ...In Ruins Franky and the Slight Incline: Chrysalis DANI: el odio me consume pero te amo ### punk this week: the bug club, exit mould + 8 more URL: https://see-saw.fun/punk-this-week-the-bug-club-exit-mould-8-more/ Last updated: 2024-08-30T13:40:06.000Z It’s Friday, August 30, and this is [Punk This Week](https://see-saw.fun/tag/punk-this-week/). It’s see/saw’s rundown of the new punk and rock’n’roll records that are worth a listen. This time it’s Welsh duo the Bug Club, Aussie punks Exit Mould and It Thing, a stacked compilation of *Delinquents & Shitbags*, and much more. The full post and all installments of Punk This Week are available to paid subscribers (and [those who barter](https://see-saw.fun/bartering/) their way across the paywall). Free subscribers still have access to interviews, playlists, and other weekly posts. [Please consider a subscription](https://see-saw.fun/about/#/portal/) to help grow this reader-supported endeavor. --- **The Bug Club:** [***On the Intricate Inner Workings of the System***](https://thebugclub.bandcamp.com/album/on-the-intricate-inner-workings-of-the-system?ref=see-saw.fun) **\[Sub Pop\]** The Bug Club is the Welsh duo of Tilly Harris and Sam Willmett, and their sound is pop music with scuzzy heft. There’s a song called “Pop Single,” and they stick the landing with a fantastic, catchy, self-aware pop single where they shout out the drama of their own pause-for-effect and key change. It’s rare for a band to be funny in exactly this way while delivering a record that genuinely rips. On “War Movies” they namedrop all the biggest war movies, and when you realize just how many utilize the word “bridge,” you’re giggling through the heft and stomp. Much respect for a relentless and relentlessly goofy band. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/08/a1098736140_10.jpg)](https://thebugclub.bandcamp.com/album/on-the-intricate-inner-workings-of-the-system?ref=see-saw.fun) --- _This post is for paying subscribers only._ ### punk this week podcast 01: fake fruit & melt-banana URL: https://see-saw.fun/punk-this-week-podcast-01-fake-fruit-melt-banana/ Last updated: 2024-08-27T15:18:29.000Z ![audio-thumbnail](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/media/2024/08/punk-this-week-02_mixdown_thumb.jpg) punk this week podcast 01: fake fruit & melt-banana 0:00 /2958.6 1× Punk This Week *is see/saw’s weekly podcast from co-hosts Evan Minsker and Nina Corcoran breaking down the latest releases in the world of punk rock. Each episode highlights two records with brief discussions of an additional four.* Welcome to the first episode of *Punk This Week*! Evan Minsker and Nina Corcoran gather to discuss the best punk records this week. This time it’s the sophomore album from Fake Fruit and the long-awaited return of Melt-Banana, plus versatile D.C. punk [Spring Silver](https://springsilver.bandcamp.com/album/dont-you-think-its-strange?ref=see-saw.fun), Olympia shit-fi heroes [the Gobs](https://thegobs.bandcamp.com/album/worst-one-yet?ref=see-saw.fun), Belgian fuzz rockers [Itches](https://itches.bandcamp.com/album/two-flies-in-one-clap?ref=see-saw.fun), and Hattiesburg hardcore weirdo [Bad Anxiety](https://feral-kid-records.bandcamp.com/album/bad-anxiety?ref=see-saw.fun). Thanks to Baby Tyler Band for use of our theme song “[Needs](https://nightbellrecords.bandcamp.com/track/needs?ref=see-saw.fun)” off their [self-titled album](https://nightbellrecords.bandcamp.com/album/baby-tyler-band?ref=see-saw.fun). Thanks to [Waylon Thornton](https://ghosthousecandymountain.bandcamp.com/music?ref=see-saw.fun) for the bumpers. Find Punk This Week on [Apple Podcasts](https://podcasts.apple.com/us/podcast/punk-this-week/id1765148130?ref=see-saw.fun) and on any podcatcher via this [RSS link](https://feeds.acast.com/public/shows/66cde779407cbc46095b4e06?ref=see-saw.fun). --- Further linking: - Fake Fruit interview in [*Paperface Zine*](https://www.gimmepaperface.com/post/fake-fruit-every-time-we-write-a-new-song-im-amazed-with-how-quickly-it-comes-together-and-how-in-tu?ref=see-saw.fun) - Melt-Banana interview in [*New Noise Magazine*](https://newnoisemagazine.com/interviews/interview-yako-and-agata-of-melt-banana-talk-35/?ref=see-saw.fun) --- *Punk This Week* is made possible by see/saw subscribers; please [consider a subscription](https://see-saw.fun/#/portal/) if you enjoy this podcast. ### the jesus lizard have nothing to prove to you URL: https://see-saw.fun/the-jesus-lizard-have-nothing-to-prove-to-you/ Last updated: 2024-08-26T12:57:25.000Z In traditional horror movies, omission is the default means of ratcheting up tension. Eldritch figures exist largely outside of view, coming into frame in flashes and jump-scares, but never captured straight-on with the camera’s lens. The Jesus Lizard have always taken the opposite approach: shoving the uncomfortable, writhing horrors in your face until either you flinched or bit your lip and embraced it. Ever since their formation, in earnest, as a four-piece rock band on 1990’s *Head*, the band’s creative core, vocalist David Yow, guitarist Duane Denison, bassist David Wm. Sims, and drummer Mac McNeilly spent years giving listeners the audio equivalent of exposure therapy. McNeilly’s drums filled the room’s open space so thoroughly, the note’s decay became just as important as its attack. Sims’ bass lines hung down like rusted razor wire at a junkyard, swooping down and ready to catch flesh when you least expect it. For his part, Denison ignored the stompbox distortion tones running rampant and played heavy, aluminum-neck guitars through bright, slightly overdriven Hiwatt amps, crafting the most sinister clean tone ever committed to tape. And Yow? If he wasn’t screaming in your face, it probably meant you left as soon as you caught the first glimpse of his balls, ass, or both. On September 13, for the first time in 26 years, and 28 years since McNeilly was on drums, the Jesus Lizard have made a new record. It’s called *Rack*, fitting right in with the band’s classic monosyllabic, four-letter album titles. It’s been a long road, as the band chipped away at writing, demoing, re-demoing, and recording over the course of many years since their original reunion—or, as Yow prefers, “reenactments”–in 2009\. In that time they released a career-spanning retrospective book called, you guessed it, [*Book*](https://www.akashicbooks.com/catalog/the-jesus-lizard-book/?ref=see-saw.fun), and after some brief hiatuses, have been playing shows regularly since 2017\. But through it all, the likelihood of new music from the Jesus Lizard seemed highly unlikely. Contesting with a legacy built on chaotic, unpredictable live shows and records that sound as vital now as they did 30 years ago, the Jesus Lizard should have something to prove with *Rack*, but they most certainly don’t. Where the final two albums from their original run, 1996’s *Shot* and 1998’s McNeilly-less *Blue*, were divisive deviations released on major labels, recorded by real producers (not just the spartan-like engineer Steve Albini), and featured a myriad of studio flourishes, *Rack* neither runs from those sounds nor embraces them. In pure fact, nothing on *Rack* sounds like it could have been on *Goat*, but none of it sounds like it could have been on *Blue* either. It sounds like *Rack*, and it sounds like the Jesus Lizard in the present day. While many fans clutched the Jesus Lizard close to their chest, holding it so tight they believed it to be theirs, it always truly belonged to Yow, Denison, Sims, and McNeilly. With *Rack*, they prove exactly that. We’re all better off for it. Talking to Denison, it became clear the reverence the members hold for the project is still there. And they believe in *Rack* just as much as they have any other Jesus Lizard album—past, present, or future. **In *Book*,you said that being in the Jesus Lizard was the most defining piece of your life. Even as you remained active in other bands, did it always feel like the Jesus Lizard was still in you?** Duane Denison: Yes, absolutely. It seems like no matter what else I did, more people knew me from the Jesus Lizard than anything else. For instance, I have the band Tomahawk with Mike Patton and I think we did five albums. The first two especially, they sold a lot more than any Jesus Lizard album ever did, but it just didn’t get the critical respect or the recognition from fans that the Jesus Lizard had. That stands to this day. I’d go tour with other groups and I’d just casually look around the room and sometimes you’re in a backstage area and you see band photos stuck to the wall and it’s like, there’s the Jesus Lizard. It almost seemed like everywhere I went we’d already been there. We did a lot of press and a lot of interviews and all that so yeah, to this day, chances are if somebody knows who I am, that’s why. **To that end, was there ever a point where you started to resent that fact and revolted against it?** No, I never felt like I had to make a conscious decision to step away from that. I just kind of did that naturally. Even while I was in the Jesus Lizard, I had that side-project the Denison/Kimball Trio, which was this jazzy sort of thing, not terribly different from what the Messthetics are doing now, really. I could always step away from that easily enough, I never had to make a conscious effort to do that. I sort of felt with other projects it was a chance to step into a new role. I wasn’t worried about—what some people might say—“redefining myself.” Because, to me, that’s something a big star like David Bowie does. The rest of us just sort of adapt and keep going. **Given that you’ve remained active in other projects, when did you start feeling the desire to put your creative energy back into the Jesus Lizard?** I go through periods where I write a lot and then I step off and let the ideas sort of build up, and then I write a lot again. I’ve always got something going on, and there’s always some unfinished piece that I’m working on. I don’t really worry about categorizing it. I don’t worry about which band it's for or who's going to work on it, I just write what I’m feeling at the moment and then set it aside. Sometimes I’ll record it, sometimes I’ll just write it out with a temporary title, and I keep a list of new things. This album’s not even officially out yet and I’ve already got probably a half a dozen new things I’m working on. I’ve always been like this. I just keep writing new stuff as it comes up and then set it aside. Then you’ve got this nice little backlog of things that you can adapt for certain situations. **Going back through *Book*, David Wm. Sims talks about his process of writing where he’d just play along with someone else’s song and then adapt that feeling into a song idea for the Jesus Lizard. What does that spark of creative inspiration look like for you?** For me, I just noodle around. Sometimes I start with an idea in mind, like I want to come up with something that’s fast and agitated or something that’s choppy and aggressive or maybe I want something that’s more smooth and continuous, and then I just start noodling around until something shows up. To me, you know you’ve got something when you come back to it a day or so later and you still remember it. It’s a strong enough idea that it pulls you back. I get ideas throughout the day, and almost every time I play if I’m being honest, but a lot of them are…I wouldn’t say they’re not worth pursuing, they’re just not any more interesting than a number of things I’ve already done. I think everyone everywhere reaches their own personal level of mediocrity in everything, in everything you do. For me, in music, you have to try to find those things that are better than mediocre. I have to be trying to say something and have it feel like the best one yet. But also, I get ideas from outside sources. I’m a firm believer that fresh input equals fresh output. I don’t play along with other people’s records and stuff, I don’t do that, but I’ll play along with recordings where I’m just improvising. I have a degree in music, I can read music pretty well, so I can go out and buy workbooks and sheet music and find ideas that I then adapt for my own purposes. I try not to copy other people’s stuff but if you take an idea that’s out there and play it backwards, flip it over, try to invert the intervals, play it twice as fast, play it half as fast, then it usually spins into something else entirely. **It seems like David Yow was somewhat resistant to the idea of making a record but then came around to it. I also have read him saying he was opposed to the initial reunion, to the release of *Book*, and now this. What made the rest of you keep pushing these issues? Was there a point where you felt like you’d just acquiesce and nothing would have happened?** Well, it’s funny. David will be resistant to things but then, once they get going, he can’t stop being enthusiastic. Right now, he’s telling everyone about the album and he can’t stop talking about it. He’s going crazy designing T-shirts and working on video stuff so, suddenly… I think it’s a pose. I think he plays difficult because, well, I don’t know why. *\[Laughs\]* I think it’s a pose. When we got back together in ‘09 and started playing shows together, it just went really well. We still get along, and we still sound good together. In some ways, I think we sound better than we did in the old days because maybe there’s a little more maturity and a little less intoxication involved—I’m not kidding. One of the consistent bits of feedback I got from people was, “I knew you guys would be good but I didn’t think you’d be *that* good.” And that made me very happy, so when we started doing songs, I felt very strongly that this was good material. I was saying, “I know this, David. Listen close to it.” Then finally he agreed to work on it. And I wanted people’s feedback on the album to be the same as the shows, where people said, “I knew it would be good, but I didn’t think it would be that good.” And I’m starting to hear some of that, so it’s very gratifying. And also, I don’t know, but I think the time is right. I think people want a release. People want some relief from this endless news cycle of our dystopian future. I think some mindless rock music—well, it’s not totally mindless now, is it? I think David’s lyrics are very thoughtful, and the music is very thoughtful, but it comes off as very unhinged at times, and that’s fine. It’s rock‘n’roll, you’re supposed to lose your mind with it and have fun with it. I think people really want that right now. And when I look around, frankly, at what other bands are doing, there’s not too many others that are giving it that. So here we are. **Knowing that you didn’t want to repeat yourself, but had a weighty history to contend with, how did you all approach honoring what the band was without feeling boxed in by that legacy?** Some of the material on this album hints at our past body of work and that was almost intentional. We didn’t set out to do that but, as it evolved, some of the pieces clearly did have a certain imprint from our previous songs and that’s okay. That was the point of departure, but it doesn’t stay there. This album, there’s only a couple things that really sound like it’s from the past. The rest of it is sort of a new, revamped version of us. Then there’s a couple things that don’t sound anything like what we did before. I also felt like, with starting the band over, to pretend like we’re reinventing ourselves, that would be a mistake, too. I think when a band is really good, it’s because they’re good at a certain thing or a certain few things and they own that. I think with our band, we did. We had a couple different things that we tended to do, I’d say two or three things. We had the fast one, the slow one, and the weird middle one. *\[Laughs\]* That’s the Jesus Lizard. There’s plenty of that on this album. It would have been a mistake to disavow the past, but it would have been a bigger mistake to just try to recreate it. **There’s the song “Lord Godiva”—I saw some record of that song dating back ‘97 before the band’s breakup. What made you want to bring that one back from the archives?** That’s one where there’s demos of it that exist from the ‘90s but it was never quite finished until the last couple of years. It just held up. That really grinding riff, the lyrics are just unhinged nonsense, but it just held up and made the cut. Every time you go into the studio you record a bunch of songs and there’s some that get kept and a couple that get tossed, and that one got kept. There’s actually another one that goes back, oh Christ… \[mouths riff, sings melody\] “Falling Down.” There’s actually a rough demo of that also from the late ‘90s, but we just never finished it. It’s funny, the other guys didn’t even remember demoing it. It was late-period, and I think Mac didn’t even play drums on those demos, he was gone by then, so some of this stuff even goes all the way back to then, but it still holds up. But I think we added a lot of new things, which creates a nice balance of material. **Talking about the things that stick, I know it was a slow process of writing and recording the record. Was there a point where that passage of time gave any of you pause about the material or did it just reaffirm your commitment to it?** There were definitely times because, I mean, it took several years for this to come together. We would have these Zoom meetings, because we all live in different cities, and these Zoom meetings were almost like business meetings where you try to get a status report on each of the different songs. We would just kick things along like that. When we were a band in the ‘90s, we were all not just in the same town, we were in the same building. All four of us were living in a three-room apartment. We’d go on tour and then come home and we were all still together. We were around each other, god, 24 hours a day for several years. I’m glad we don’t have to do that anymore, but we stay in touch. We send files, we have Zoom meetings, then we get together here in Nashville to rehearse, and everybody stays at my house, just like the old days. There are times, I have to admit, where it was turning into a lot more of a commitment than I thought it would be. It was taking too long and wearing me out. But I have to give credit to the producer Paul Allen who actually worked on the demos with us with a mobile recording unit. He was giving encouragement every step of the way, telling us that we had to do it. He was like, “If you don’t do this, you’ll regret it the rest of your life, so come on.” He pushed it across the goal line. By the time we went to record the album, we’d demoed these songs twice. Having that time to really listen is when we get to experiment. That’s when we get to decide if it works or not. By the time we went into the studio, we pretty much knew exactly what we wanted to do. There was a little bit of guitar exploration here and there just because I could, and there are always some things you discover along the way but, in a lot of ways, a lot of the guesswork had been worked out. You try things and then you live with it for a few months and you can see if it grows on you or if you grow to dislike it. You record something very spur-of-the-moment and it seems like a great idea at the time but then a couple weeks later you wish you hadn’t done that. **We’re talking on Steve Albini’s birthday, who engineered a good chunk of the early Jesus Lizard material. Not to be morbid, but having that original core of the band back together, did it feel important to make a potential final statement from this group of people?** As soon as we were playing together back in 2009, and we’ve done several short things since then, as soon as we started doing that again, it just seemed like that’s what we’re supposed to be doing. I wouldn’t say it was there obviously but yes, the question of mortality hangs over every song and in everything we do. As we get older, more and more people are disappearing so you’ve got to make it count. That’s why we took this seriously. On one hand, there are songs that are unhinged, fun, and crazy. But on the other hand, we were very serious because who knows, it might be the last thing any of us ever do. So absolutely, that hangs over things. --- *see/saw is a reader-supported publication. If you enjoyed this article, please consider a* [*subscription*](https://see-saw.fun/about/#/portal/) *to support this independent punk journalism operation.* ### punk this week: fake fruit, bad anxiety, the gobs + 6 more URL: https://see-saw.fun/punk-this-week-fake-fruit-bad-anxiety-the-gobs-6-more/ Last updated: 2024-08-23T13:49:08.000Z It’s Friday, August 21, and this is [Punk This Week](https://see-saw.fun/tag/punk-this-week/). It’s see/saw’s rundown of the new punk and rock’n’roll records that are worth a listen. This week it’s the stellar sophomore album from Fake Fruit, some great hardcore from Hattiesburg, the latest from wild weirdo budget punks the Gobs, the return of Fastbacks after 25 years, and Buck Biloxi’s got a new band. All that and so much more. The full post and all installments of Punk This Week are available to paid subscribers (and [those who barter](https://see-saw.fun/bartering/) their way across the paywall). Free subscribers still have access to interviews, playlists, and other weekly posts. [Please consider a subscription](https://see-saw.fun/about/#/portal/) to help grow this reader-supported endeavor. --- **Fake Fruit:** [***Mucho Mistrust***](https://fakefruitmusic.bandcamp.com/album/mucho-mistrust?ref=see-saw.fun) **\[Carpark\]** Oakland’s Fake Fruit started out as a showcase for the songwriting of Hannah “Ham” D’Amato, and “No Mutuals” was its hit single. Now it’s a true collaborative trio, with D’Amato sharing songwriting duties with her bandmates Alex Post and Miles MacDiarmid. Nowhere is that more apparent on *Mucho Mistrust* than on “Venetian Blinds.” It features Post on vocals for a change, with clacking staccato drumsticks ratcheting the anxiety. Then there’s “Gotta Meet You,” this frenetic bouncy track with sax and cowbells. Their approach this time feels both wildly fun and completely limitless. It’s a step up from where they came from before, which is wild considering they [apparently](https://www.gimmepaperface.com/post/fake-fruit-every-time-we-write-a-new-song-im-amazed-with-how-quickly-it-comes-together-and-how-in-tu?ref=see-saw.fun) knocked out the recording at top speed. [![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/08/a2596143136_10.jpg)](https://fakefruitmusic.bandcamp.com/album/mucho-mistrust?ref=see-saw.fun) --- _This post is for paying subscribers only._ ### the 5 best of skull fest 2024 URL: https://see-saw.fun/the-5-best-of-skull-fest-2024/ Last updated: 2024-08-21T14:06:24.000Z There’s no shortage of corporate-sponsored festivals taking over city parks and fields across America all summer long. But tucked into the hills, hollers and riversides of the Paris of Appalachia, a scrappy coalition of veteran punks are determined to curate an incredible weekend of punk from all over the world without a single bank sponsor: [Skull Fest](http://skullfestpunk.com/?ref=see-saw.fun). What once started as a tongue-in-cheek titled birthday party in Pittsburgh has become a full-fledged destination punk event with people even attempting to make fake passes to get in. In its 14th year, the fest has really hit its stride with performers from France, Spain, Mexico, Italy, Chile, Canada and all across the U.S. (and I might even be missing some places!), showcasing a mix of exciting newer bands and legacy acts like The Chameleons, Subhumans, The Goons and more. It’s also an opportunity to platform a slice of the incredible bands from right here in Pittsburgh, PA like [De Rodillas](https://derodillas.bandcamp.com/album/implacable?ref=see-saw.fun), [Peace Talks](https://peterwalkeerecords.bandcamp.com/album/peace-talks-progress-lp?ref=see-saw.fun), [Nasty Nancy](https://nastynancy999.bandcamp.com/album/me-myself-and-i?ref=see-saw.fun) and [Speed Plans](https://speedplans.bandcamp.com/?ref=see-saw.fun) to name just a few. As a Pittsburgh resident, I might be biased, but I think some of the coolest bands are already here. The difference Skull Fest makes is that punks from all over congregate to go nuts and show off the various pit styles of their regions. The vocalist of Ready Armed System had my favorite mosh style of the weekend, but each pit was full to the brim with psychos from the Midwest and South freaking it in new and innovative ways. Pittsburgh has a reputation for being difficult to get moving, but that’s a non-issue at the fest. As a result, the hometown heroes get the off-the-walls response they should every time they play. Another really important thing to know about Skull Fest is that it’s run by a team of extremely dedicated volunteers who are deeply invested in taking care of everyone and giving attendees the most batshit weekend of music and camaraderie possible. There’s medics at all the shows, delicious and affordable food, drug testing strips in venue bathrooms, and just generally folks ready to jump in when shit needs done. It’s an enormous labor of love. After the Sunday matinee I went to find nitrile gloves for Skull Fest organizer Krystyna Fox and Kapital vocalist Sarah Sequoia as they bagged all the loose trash and cans so that the waste management folks would actually empty the dumpster come trash day. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/08/Krystyna-taking-care-of-business-8.18.24-skull-fest-prevention-point.png) Krystyna, one of the Skull Fest organizers and vocalist of Peace Talks, bagging stray trash So what did I see this weekend? A man’s whole entire ass falling out of his pants during Speed Plans kicking off the weekend. Hundreds of beer and seltzer cans thrown from the crowd Ianding the stage. Nitrous nozzles peeking out of backpacks. More mohawks and rattails and dreads per capita than you could imagine. Goths with perfect makeup. Battle vests that belong in future punk archives. Friends from far flung places jumping into each other’s arms. People grinning ear to ear as they pumped fists in the air and pogoed and slammed back and forth in sweaty, smoky rooms. I could write a novella-length article every year about all the things that I witnessed in four days of Skull Festing, but I’ve whittled it down to five highlights. Come to Skull Fest. Don’t move here! --- **5\.** [**Disintegration** ](https://disintegrationcleveland.bandcamp.com/album/time-moves-for-me?ref=see-saw.fun) I usually try to leave a few surprises for myself, so if I haven’t heard a band before the weekend starts I’ll hold off until I watch their set to dig into them. Disintegration was one such set. The band’s careful blend of synth pop and post-punk (and the crisp electronic drums paired with a traditional floor tom and real cymbals!) made for an electrifying danceable set. Vocalist Haley Himiko (also of Pleasure Leftists) was absolutely mesmerizing to watch, her magnetic energy and movement matching the insane vocal range and power she possesses. I’ve had “Time Moves For Me” stuck in my head since seeing them play it on the very first night of the festival. [Time Moves for Me by Disintegration](https://disintegrationcleveland.bandcamp.com/album/time-moves-for-me?ref=see-saw.fun) --- **4\.** [**Protocol** ](https://protocolbrownbois.bandcamp.com/album/bloodsport?ref=see-saw.fun) Tallahassee’s Protocol brought a level of intensity that truly floored me. The tone for the following 20 minutes was set with vocalist Ahmad making a point to emphasize the necessity of not treating people of marginalized experiences like accessories, and instead to fight for what’s right from a place of genuine interest and mutual respect–and then going on to say very few words between songs otherwise and having the performance do the rest of the talking. The band’s vicious speed and energy felt like an earthquake, rattling the floors of the venue and spurring a maelstrom of forty unrelenting punks shouting back at Ahmad and slamming for the entire set. Everyone behind the pit in the packed room were just as locked in, with very few phones out filming and instead everyone fully dedicated to experiencing the band. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/08/Protocol-8.16.24-skull-fest-cattivo-and-bells-arm.png) Protocol at Cattivo, Skull Fest, 8.16.2024 --- **3\.** [**Physique**](https://physique.bandcamp.com/album/overcome-by-pain?ref=see-saw.fun) If you’re wondering why the photo I took of Physique is not close at all, it’s because the venue was so packed that you stayed where you were once you got into the room. When the pit broke out the crowd had to move like water to accommodate because there was simply nowhere to go, not that anyone minded because Physique’s brand of blistering crusty d-beat had the entire room of maniacs in a frenzy. People were stage diving, swirling, swarming on each other as Olympia’s finest charged through their set, bodies squishing against each other in various directions. Every member of Physique is extremely locked in, and their drummer Riley truly offers a clinic every time they sit down at the set. The amount of “Holy shit” and “that was fucking nuts” I heard as we all crowded into the stairwell to exit after the set was truly uncountable. And holy shit, it was fucking nuts. --- **2\. The Matinees** This year’s Skull Fest featured several matinees, and it’s my opinion that the matinee shows embody the communal spirit of the festival. The fact that these are the all ages shows of the festival dovetails nicely into the local vendors set up and the general comfort that comes with being at and performing in a DIY venue built up from scratch. I was able to hit the Saturday and Sunday matinees this year (historically the Sunday matinee is my must-see show), and I was floored on both days. Saturday featured [Nasty Nancy](https://nastynancy999.bandcamp.com/album/hardcore-hotel?ref=see-saw.fun), [KAPITAL](https://chaosandchill.bandcamp.com/album/p-ray-u-n-ever-k-um?ref=see-saw.fun), [no knock](https://noknock.bandcamp.com/album/imagine-a-world-without-landlord-ep?ref=see-saw.fun), [Kartel](https://kartelpunk.bandcamp.com/album/sudaka-ataka?ref=see-saw.fun), [X2000](https://x2000.bandcamp.com/album/g-tico-tropical?ref=see-saw.fun), [Mutant Strain](https://mutantstrain.bandcamp.com/album/mutant-strain?ref=see-saw.fun), [Blazing Eye](https://staticshockrecords.bandcamp.com/album/ways-to-die?ref=see-saw.fun), [Pure Terror](https://pureterror.bandcamp.com/album/blood-oath?ref=see-saw.fun) and [Haram](https://haramharam.bandcamp.com/album/where-were-you-on-9-11?ref=see-saw.fun). ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/08/Kapital-Skull-Fest-at-Prevention-Point-8.17.24-.png) KAPITAL at Prevention Point, Skull Fest, 8.17.24 Every single band crushed it, but my MVP of this particular matinee was Mutant Strain. How those fuckers fit so many crazy riffs into such fast songs defies psychics and also God. Additionally, the hi-hat stand of the backline broke during the set, and after it was removed to be hopefully fixed quickly, the drummer Alex insisted on just going ahead the set, and they barreled through three songs without missing a beat. You’d never have a clue that a whole piece of the set was missing. A repaired stand was sneakily returned midsong a few songs after, but I was still gobsmacked at how smooth they handled such a derailing speedbump. Mutant Strain’s vocalist Maryssa is delightfully deranged on stage, sounding demonic and freaky while they thrash around with seemingly boundless energy. It was equal parts entertaining and intimidating, and it was a set for the true freaks of the weekend. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/08/Pure-Terror-8.17.24-prevention-point-skull-fest-.png) Pure Terror at Prevention Point, Skull Fest, 8.17.24 The Sunday matinee lineup included [Body Farm](https://sothisisprogress.bandcamp.com/track/trans-day-of-vengeance?ref=see-saw.fun), [Illiterates](https://illiteratespgh.bandcamp.com/album/no-experts?ref=see-saw.fun), [Yambag](https://yambag.bandcamp.com/album/mindfuck-ultra?ref=see-saw.fun), [Ready Armed System](https://roachlegrecords.bandcamp.com/album/ready-armed-system-demo?ref=see-saw.fun), [INNUENDO](https://unlawfulassembly.bandcamp.com/album/innuendo-peace-love?ref=see-saw.fun), [Savage Pleasures](https://toxicstaterecords.bandcamp.com/album/savage-pleasure-lp?ref=see-saw.fun) and [Bootlicker](https://boot-licker.bandcamp.com/album/bootlicker-lp?ref=see-saw.fun). This Sunday show is usually a good litmus for gauging how well the weekend went, and while folks were certainly tired, everyone was in great spirits. Sunday was the birthday of Illiterates’ guitarist Kevin, and after he blew out the candle on his cake, Lawson smashed it into the pit right before the band catapulted into their set. Cake was flying, for the first few songs before it became completely obliterated by the boots of moshers. I was lucky enough to have a small part in the Illiterates set, having the mic passed to me for “Tricks of the Trade,” which was very fun. My MVP for this matinee was Cleveland’s own Yambag. We’re extremely lucky that the sports beef between Pittsburgh and Cleveland doesn’t translate to art, because the two scenes get to share incredible bands back and forth to our benefit. As per usual, the band seemed dangerously close to breaking time itself in its furious speed, and people rolled and prowled with frantic urgency on the greasy concrete (the cake may have been obliterated, but the oil remained). The band covered "Suspect Device" by Stiff Little Fingers to great excitement from the folks in the room, and even some more chill characters in the scene and at the fest couldn’t help but get into it during Yambag’s set. Richard could teach a master class on how to front a band. I mean, how does he jump that high?! People genuinely were having so much fun, and the band packed a ton into 20 minutes. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/08/Body-Farm-8.18.24-skull-fest-prevention-point.png) Body Farm at Prevention Point, Skull Fest, 8.18.24 --- **1\.** [**Surrogates**](https://surrogatesmpls.bandcamp.com/album/surrogates?ref=see-saw.fun) [SURROGATES by SURROGATES](https://surrogatesmpls.bandcamp.com/album/surrogates?ref=see-saw.fun) I saw my favorite set of the weekend on the very first night on the first floor of the venue Spirit. The last time I’d seen Surrogates perform was in a half pipe in the woods of Pittsburgh, and it completely redeemed my love of punk and hardcore. That kind of revelation doesn’t always happen, but the Minneapolis band’s Skull Fest set was proof that lightning does strike twice. In fact, I think lightning must strike every single time Surrogates perform. With blistering riffs and an unrelenting rhythm section, each song completely ignites your body into motion, while Lulu’s energy on the microphone is unlike anyone else. Lulu’s bright smile, dance moves, constant motion and fierce intensity is truly exhilarating to witness, and Surrogates does that thing to a crowd where a bunch of hard ass motherfuckers are all watching with these enormous smiles on their faces. Even as people cannonball into each other it’s all smiles. The energetic exchange is unreplicable. It’s impossible not to have fun when you’re watching Surrogates. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/08/Surrogates-at-Spirit-Skull-Fest-8.15.24-two.png) Surrogates at Spirit, Skull Fest 8.15.24 --- *see/saw is a reader-supported publication. If you enjoyed this article, please consider a* [*subscription*](https://see-saw.fun/about/#/portal/) *to support this independent punk journalism operation.* ### billiam has a hard time believing in billiam URL: https://see-saw.fun/billiam-has-a-hard-time-believing-in-billiam/ Last updated: 2024-08-19T13:19:21.000Z Billiam has a complicated relationship with external validation. His new album [*Animation Cel*](https://hiimbilliam.bandcamp.com/album/animation-cel?ref=see-saw.fun) was released on Erste Theke Tontraeger and Legless, two labels that he holds in extremely high regard as a listener. He’s in the same echelon as his peers Busted Head Racket, Autobahns, Prison Affair, and the Gobs. Presented with that evidence, he swats it away. “I could have written ‘Bohemian Rhapsody’—I could have *Yesterday*’d and had the entire Beatles catalog in my head and given it to them—and I would still feel inadequate next to every other band on those lineups,” he said. The Aussie garage punk wunderkind will accept external praise when people compliment him on his songs or shows, but he’s quick to couch it. “I feel pretty honored that people call me prolific; I would say I’m pretty fuckin’ lazy,” he said, as one example. He *is* prolific, though. The new album follows last year’s *Corner Tactics*, and prior to *Animation Cel* this year, he put out a tape comp, a split, two singles, and a synth punk EP under the name NTSC PAL, which doesn’t count his collaborative stuff. Within a week after our conversation, Billiam was working on a new album, a “real album in a proper studio.” [Animation Cel by Billiam](https://hiimbilliam.bandcamp.com/album/animation-cel?ref=see-saw.fun) That setting marks a new kind of pressure for a Billiam record—he usually records solo in his room, writing songs about characters from the Sonic games, for example. The Sonic fandom is legit, but within reason. He plays *Sonic Mania*, but when I ask about the Sonic movies, he says he hasn’t seen them. “I don’t wait in line at the cinema with a little ticket dressed up like one of those dudes from that video where they’re waiting in line for *The Matrix Reloaded* doing kung fu moves.” Billiam and see/saw both strongly recommend consulting the YouTube video titled “[Matrix Nerds](https://www.youtube.com/watch?v=gCyrKJg-1VM&t=37s&ref=see-saw.fun).” The secret to his fruitfulness as a songwriter is that he doesn’t care for scraps. “I just record everything and try to finish as much as I can,” he said. “I don’t like to leave stuff unfinished.” He has a list on his phone of every song title that pops to mind; he follows through on all those kernels. **Can you open the list of names and give me one?** I would be absolutely honored. It’s in reverse chronological order, I’m just gonna read the first 15\. “More Forward in the Present,” “Spitting on the Moon,” “Balancing Antlers,” “Second Destruction of Atlantis,” “So Repressed,” “Bovine,” “Retro Star Excursion,” “Auto Industry,” “Lucid Interval,” “Drain Tame,” “Cherry Pomade,” “Basalt Beret,” “Medical Tourism,” “Always Another Monster.” So there’s a little sneak preview of songs that either I will release or record and then bash my head against the wall until I record a better song. [Where Is Jackson Reid Briggs? by Billiam](https://hiimbilliam.bandcamp.com/album/where-is-jackson-reid-briggs?ref=see-saw.fun) **How did “Where Is Jackson Reid Briggs?” happen? It’s a song about the dude from Split System, so I wondered if there was a story.** Billiam and the Split Bills, the live band, played in Western Australia, which for anyone not in Australia is the most geographically isolated state in the country. We were playing one show in Geraldton and another in Busselton, which are two regional towns. The story of those two shows is like another fucking separate novel I could write, but the drive between there is eight hours and we were in the van with Greg who booked the shows and drove us, absolute legend. Split System *Vol. 2* had just come out, then we put on *Vol. 1*, and then we were just listening to the two seven-inches they put out, and he keeps mentioning the street. We were also on a Hank Wood and the Hammerheads kick and I forget which song, but there’s a street song. It became a joke—how can you mention the street. It would seep its way into conversations, like we’d be trying to direct people and be like, “Go over there \[*sing-shouts*\] ON the STREET.” **You’ve introduced me to a bunch of bands that I’ve loved. Is that one of the main ways you spend time—looking for new music?** Yeah, absolutely. I’m very, very lucky to not only be in Australia right now, but to have people be interested enough in me where they want to play shows with my band, and I get to see all this insane music. I’m really privileged with that. I’m also a huge troll. I love going through the SoulSeek compilations, reading through radio show’s and people’s mixtapes. There’s no greater feeling in the world than finding something that’s new and haven’t heard and it resonates with you. But I mean, I’m not going to act like I sit all day in this big library of music—a lot of my day is me watching video essays on failed Kickstarters. **When you’re approaching a new record like *Animation Cel*, do you go in with the idea in mind of how the songs will work with that title, or does it sort of reveal itself to you?** Kind of a mix of both. I spend more time trying to come up with the album title and cover than I do actually writing the songs for the record. I always want to create something that when you hold it, it’s an appealing looking package down to the song titles. I’ve had the next album title for ages because it’s kind of a concept album. This one, I just wanted a cover that was an animation cel and I ran with it. **Do you have ambitions for Billiam that haven’t happened yet?** I’m just fucking in awe at the point it’s gotten to because I don’t think what I do is particularly special. I’m proud of the songs I write. I’m proud of the music. I’ve gotten better at writing them and recording them and putting together packages, but I don’t get how I’m releasing a record on Erste Theke Tontraeger and people are genuinely excited to listen to it. Like to me, it’s like what the fuck has gone wrong with society? I don’t get it. I’ve got a record coming out on Legless and I’m about to go to a bunch of countries I have never been to. I’ve never met anyone from there, and there are people there—I don’t know how many people, it might be like 10—but there are 10 people who are actually excited to see me. And that’s *fucked*. **How’s your self-esteem?** Look, last year was so weird. I put out *Corner Tactics* and Split Bills toured in Australia, and so much positive stuff happened. I got so much praise, but it was still the most fucked year for my mental health. And I was probably the most unhealthy I’d ever been in my entire life. It was to the point where I got diagnosed with having a full-blown psychotic episode and was at risk of further psychotic episodes. I had such a terrible year mental health-wise. I can have an ego, but also, I’m kind of realistic in that I don’t think particularly highly of myself, especially when I’m surrounded by so many incredible people. Sorry to fucking do a therapy session. I just want to keep making stupid punk sounds and writing songs about cardboard and playing those songs in places until I can't or I get bored with it and then move on to…what are people meant to do when they get bored with punk? **Solo glam vanity project.** I do really want at some point to write a full Thin Lizzy hard rock power pop record. That’s one of my dreams. I don’t have it in me yet, but I am praying that someday I figure out how to solo and write a full record where the album cover is just me in a classroom in a leather jacket smoking a cigarette. Then I could just be like, “I’m done.” --- *see/saw is a reader-supported publication. If you enjoyed this article, please consider a* [*paid subscription*](https://see-saw.fun/about/#/portal/) *to support this independent punk journalism operation.* ### punk this week: gel, total hell, chris burns + 9 more URL: https://see-saw.fun/punk-this-week-gel-total-hell-chris-burns-9-more/ Last updated: 2024-08-16T15:03:17.000Z It’s Friday, August 16, and this is [Punk This Week](https://see-saw.fun/tag/punk-this-week/). It’s see/saw’s rundown of the new punk and rock’n’roll records that are worth a listen. Gel return with a new sound and a new EP. The New Orleans metal and devil worshiping punks Total Hell are back with their latest full-length. Chris Burns & His Going Concerns spread way the hell out. All that and much more. The full post and all installments of Punk This Week are available to paid subscribers (and [those who barter](https://see-saw.fun/bartering/) their way across the paywall). Free subscribers still have access to interviews, playlists, and other weekly posts. [Please consider a subscription](https://see-saw.fun/about/#/portal/) to help grow this reader-supported endeavor. --- **Gel: *Persona* EP \[Blue Grape\]** [Persona by GEL](https://gelhc.bandcamp.com/album/persona?ref=see-saw.fun) Do yourself a favor and listen to *Persona* one time on really big speakers. There’s this instinct as a fan of *Only Constant* to want them to live in exactly the same sonic space as the last one, but here they sound layered, nuanced, and massive. This is the kind of record they make big speakers for, to hear the ocean of space between the screams and the guitar. *Persona* is hardcore as furious and ominous as it is fully elemental. This is a massive sounding record that I want to get lost in. This EP features their longest song yet at nearly three minutes, and frankly, it should’ve been “Vanity.” “Vanity” is a fucking classic. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/08/151723.jpg) --- _This post is for paying subscribers only._ ### hank wood and the hammerheads’ stay home!! at 10: an oral history URL: https://see-saw.fun/hank-wood-and-the-hammerheads-stay-home-at-10-an-oral-history-2/ Last updated: 2024-08-13T13:01:45.000Z In 2014, New York City punks Hank Wood and the Hammerheads released their album [*Stay Home!!*](https://hankwoodandthehammerheads.bandcamp.com/album/stay-home?ref=see-saw.fun). Sandwiched in their catalog between their 2012 raucous debut *Go Home!* and their more polished 2018 self-titled album, *Stay Home!!* was a testament to a young punk band’s sonic ambitions. Between the rapid fire yammering vocals of Henry Wood, the thin MIDI faux-organ leads from Forrest Byrd Looker, the ripping guitar solos from Logan Montana, the belligerent rhythm section of Max Quinn and Kevin Manion, and the wild cowbell-forward percussion of Emil Bognar Nasdor, these six dudes created a maximal, unbelievable sound. It was punk music, but the sound was without parallel in its scene and era. Mired in darkness, addiction, anxiety, and paranoia, *Stay Home!!* is soulful and chaotic and dense in a way that lit my brain on fire when it first arrived. The way keys intermingle with guitar while the percussion team propels everything to the stratosphere? It’s unbelievable. I remember sitting in a bar with the lyric booklet thinking it was a concept album because of its repeated invocation of “the ghost;” it turns out its darkness is autobiographical. It remains one of my favorite albums ever. No member of the band looks back on it with significant fondness, and most of the songs have left their live show repertoire. --- Forrest Byrd Looker, synth: It has a complicated place in my heart. It’s not my favorite record we’ve ever done. It represents a very tumultuous time personally and for the band. Kevin Manion, bass: I’m not very proud of it. \[*laughs*\] It’s OK. It’s like *Go Home!*, but maybe a little bit more mature, which I don’t like. I like the immaturity and craziness of *Go Home!* a little bit better. Logan Montana, guitar: I don’t wanna say math rock, but it’s technically the most time and effort we put into a record and we definitely learned things, good and bad, that came out in our subsequent self-titled. It's definitely when we banged our heads against the wall the hardest writing complex parts. And it was so complex because Emil was in the band—my childhood best friend, our percussionist. He’s an incredible musician and just wants to swing for the fences. A lot of that I credit to him. In a good way. Emil Bognar Nasdor, percussion: I think compositionally, it’s really gorgeous. I think there’s some really cool compositional tricks and tools that were implemented in that era that I learned a lot from and was already instigating those tools in other projects. It was cool to see some of that bleed into Hank Wood. But I really don’t like the recording. Henry Wood, vocals: I think there’s this feeling that we usually have, I think most of us feel this way, where there’s one song off that one that we play regularly live. I think we all view it as this weird kind of a wash. But I listened to it the other day, and I haven’t listened to it in years, and I actually liked it. Max Quinn, drums: It feels like an interesting stepping stone for us. I think the first and the third LP have a much more obvious connection and then this record in the middle, I don’t know, it was ambitious. We were doing a lot of funky stuff with song structure and I think some of what we feel about it is like we sort of rushed some of the mixing. I think there was a way that it could have stood the test of time a little bit. I also should’ve probably listened to it this week or something, but I’m not psycho, I actually don’t listen to much of our music at all. Henry Wood: By the time it’s done, you never want to listen to it again. I think that kind of encapsulates it perfectly. In retrospect, it is this record that makes so much sense for us. Going from *Go Home!*, which is just fast and sloppy punk, we were trying to do different stuff and not really knowing what we were trying to do. I think a lot of it we felt was kind of convoluted and some of the song structure is crazy. Some of the songs go on for way too long. I think we were trying to figure out where we were going sound-wise. In the self-titled record, it happened in a way that made way more sense. That self-titled record would not have happened without us being able to experiment in *Stay Home!!*. Max Quinn, drums: *Go Home!* is such a funny record because you really can’t replicate the mojo. That record just exploded out of us. We recorded it from midnight to 3 a.m. and it was just fucking done. The second LP, we did a lot of workshopping. We actually did spend a lot of grueling time really trying to structure and hammer out that second LP. Henry Wood: We put a shit ton of work, a lot of time, and then got super fucked up when we recorded it. That’s usually the case: You spend a year making something and then have one night to do the record it and then get super fucked up. Max Quinn: That may be an underlying story of our band: Sometimes we’ll put a lot of work into something and then find a really good way to absolutely blow it at the finish line. --- ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/08/hank-wood-3.jpg) Hank Wood and the Hammerheads at an Atlanta house show in 2014, photo by Renate Winter *Hank Wood and the Hammerheads’ origins spawned from early friendships, but more concretely, in the kitchen of the Village institution Café Loup. It was 2009; Henry and Logan would’ve been 19.* Kevin Manion: They're about like five to seven years younger than me. Emil, Logan, and Henry were super tight. Henry Wood: Nobody calls me Hank. Max Quinn: That’s how I know somebody doesn’t know you. “I yeah, I met Hank one time.” Like, you *might’ve* met him. Logan Montana: Me and Henry were Manhattan kids. Dawn of Humans and Crazy Spirit, for the most part they were Brooklyn guys, so me and Henry hung out all the time and lived a five-minute walk away from each other. We were both relative college dropouts. Max Quinn: At our earliest, we would get together in the basement and eat cheeseburgers and conceptualize the band. Logan Montana: Long story short, we’re both working in the kitchen for my father who was the chef and eventual owner of Café Loup in the West Village. Henry was on the hot line, I was on the cold line. I got him the job, he showed up on his first day in an arm cast from skateboarding and busting his ass the night before. Cut it off at the elbow himself. My dad was like, “I like this kid.” We’d been working there about six months or so and me and him were just the two of us jamming, him on drums and me on guitar. We loved the Dicks, Big Boys, cleaner guitar punk. Henry Wood: I think we found a nice balance of being really chaotic. Stylistically messy, but listenable. Logan Montana: The first band was him on drums and me on guitar. We just called it Bomb Diggity \[*laughs*\]. We didn’t record anything. It was just fun. He was doing what would become the Crazy Spirit drum sound. And then Max came into the picture and started playing drums, and Henry sang. What the fuck was that place called on Broadway? It was definitely with Dirty Fences who were late…who are my boys! Shout out all the guys in Dirty Fences, who we knew through skateboarding. Max Quinn: Logan’s guitar style really dictated the direction of the band. That wild, crazy guitar shit that was sort of surfy and had tremolo. Just really psycho, rhythmically all over the. Later Forrest joined, and then Kevin. Kevin Manion: They never had a bass player. They put out a demo on MySpace, and I was playing in another band called Pregnant at the time. We played a couple shows together at a bar called Rock Star Bar in Williamsburg; it's not around anymore. I asked them one time if they needed a bass player or would like one, and they were like, “Yeah, sure, whatever.” Logan Montana: We were just doing “Louie, Louie” on repeat on other people’s gear until Dirty Fences showed up. Our friends were moshing and Emil showed up off the street literally with a trash can lid or some kind of debris under the train tracks on Broadway. That’s how he got on percussion. Emil Bognar Nasdor: It was like, “Yo, we’re playing in an hour. Roll through and hit some shit.” I definitely remember bringing random objects—find a trash can lid, grab a hammer from work, whatever. Logan Montana: We started jumping on bills under a bunch of different names. We were still working for my dad and the kitchen and my dad’s like, “Hank Wood and the Hammerheads, idiots.” Shout out to my dad Pinky. That’s his nickname. Credit him as Pinky because I’d get a kick out of that, so would my sisters and my mom. --- [Go Home! by Hank Wood and the Hammerheads](https://hankwoodandthehammerheads.bandcamp.com/album/go-home?ref=see-saw.fun) *Following the release of* Go Home!*, prospects for the band’s longevity did not look promising.* Henry Wood: I think we tried to break up after all the big records. Forrest Byrd Looker: The conversation we have with the Hammerheads every time before we start writing new stuff for a new record is “do we want to keep fucking doing this.” At the end of the day when we're about to sit down and write some new material, it's like, “does anyone fucking care,” and that’s including us. That's kind of the most important question. Logan Montana: Oh for sure, we did break up. Henry Wood: We did break up after *Go Home!*, but then the record kind of took off. People really liked it a lot, then we got back together, had another last show. I think we’ve had at least two last shows now. Logan Montana: Someone offered us a show, and we were like all right, fuck it, why not. We announced the last show, and we always used to joke, “If we keep saying it’s our last show we could sell out Brooklyn Bazaar every six months.” Henry Wood: That was the joke after we’d done it. “Say you’re breaking up and a lot of people will come.” Logan Montana: We did for real play a last show and say “let’s stop doing this” and get back together and say “let’s stop doing this.” It was genuine, it just became an inside joke. Make-ups to breakups. The first breakup never takes, to quote Seinfeld. Henry Wood: I think also, we were younger. I don’t think any of us thought of being in a band as a long-term thing. We all had bands then for two years and then maybe you recorded, maybe you didn’t, and then it was like, “OK cool, we did it, what’s the next project.” Certainly, we didn’t think 15 years later we’d still be doing this. --- *The band was candid about the partying lifestyle that consumed them during this period.* Forrest Byrd Looker: In 2013, personally speaking, I was addicted to cocaine and I would be for a number of years after. I've been sober for about three years. I've had slip-ups every now and then but predominantly I'm clean, I'm sober. Drinking has been a huge part of my life for the past almost 20 years. I’d been blackout drunk almost every other day. Logan Montana: Maybe my life was kind of a mess. I’m not going to say anybody else’s was. Henry Wood: We were at that right age, that perfect age to be arrogant little shitty kids. Max Quinn: We brought the right attitude to the moment. It was flattering that people liked our shit but we were good at not giving a shit, showing up wherever and being like, “Whatever, you suckers want to come see us play.” Forrest Byrd Looker: Going into 2013, I think all of us were kind of like handling addictions and interpersonal conflicts based on our substance abuse. I’m also just not the easiest person to get around with and I'm kind of a piece of shit sometimes. A lot of my interpersonal relationships were suffering because of that. And when we started writing the music in 2013, I think a lot of that climate around us was getting pulled into the tunes. Max Quinn: I didn’t see myself as a depressed or lost person at the time, but we were kind of all respectively living crazy lifestyles. Emil Bognar Nasdor: I was climaxing into the worst mental heath time period of my life. Playing some of those riffs for months straight, it came from a very real and pretty dark place, trying to manage mental health. Forrest Byrd Looker: We would have band practice just to run the tunes that we knew if we had a gig coming up and all of us would go out for a drink after. That might turn into the whole night and then sometimes, three or four of us would get dragged into a multi-day bender. Partying as a whole was really the climate for all of us. By the time we’re recording in 2013, there’s a bar open every night, all of our friends were out doing something every night, and we wanted to be a part of that. Kevin Manion: I was doing pretty good. \[*laughs*\] I was getting married around that time. --- > [ View this post on Instagram ](https://www.instagram.com/p/9H5mHJklZg/?utm%5Fsource=ig%5Fembed&utm%5Fcampaign=loading) > > [A post shared by NOPATIENCE RECORDS (@nopatience\_records)](https://www.instagram.com/p/9H5mHJklZg/?utm%5Fsource=ig%5Fembed&utm%5Fcampaign=loading) *Amid this party-centric period of their lives, the band consistently gathered at their practice space during late nights to work out the music that would become* Stay Home!!. Emil Bognar Nasdor: It’s very blurry, trying to draw the lineage of how it developed from me improvising every show to writing full-on parts. *Stay Home!!*, the reason the album is so personal to me is because that was the only Hammerheads record I did heavy writing on—guitar, keys, the compositional grit. When I think about that record, I don’t even think about writing the percussion parts. What has stuck with me was the deep three or four months that Logan, Henry, and I spent as the primary writers of that record deeply going in for these super long sessions all winter. Max Quinn: It’s unfathomable to me now as a 36-year-old but we’d get together at 11 or midnight when everyone got off their bartending job. Everybody had these shitty jobs, and New York’s a tough place to live, everybody’s grinding out this crappy work, and we wanted to make this record, so we committed to get together at this practice space in the Pfizer building, which we shared with like 20 other bands. There was no ventilation. It was like a box. Six of us would cram in there. My memory is getting in there at midnight already feeling crazy exhausted, then going out to have a cigarette in the parking lot and there’d be three feet of snow. It was grueling and kind of grim, but it didn’t feel depressing or sad. Henry Wood: We were partying together a lot more then. The dark lyrical shit is always in my mind, you know? I was doing a lot of drugs. Doing a lot of cocaine and drinking a lot. We were all partying a lot and remarkably, showing up at midnight and grinding this record out. It’s kind of crazy that we could still prioritize this. Max Quinn: I think it speaks to the fact that in a weird way we were taking it seriously even with all these handicaps, like, “Kevin doesn’t get off work until 1 in the morning,” like, “Alright, we’ll start at 1:30.” And then we’d grind it out. Emil Bognar Nasdor: All I can remember from this time period is night. It was always the middle of the night. Forrest Byrd Looker: My favorite songs that we wrote all across our career thus far have been the ones where we'd have a night off from work or whatever we were supposed to be doing, and we'd get in the room and we'd kind of be like you know cracking jokes fucking around, and then an hour into the practice we'd finally pick up our instruments. After we freeform E-standard surf jam, every member of the band would have these spur of the moment riffs—even Henry. This has honestly been one of the most collaborative projects I’ve ever been part of. Max Quinn: The lyrics tend to be kind of collaborative. Sometimes the crux of a song, a chorus or something, will be a thing we came up with together as a band. Henry Wood: We grew up together in a big sense. We hung out all of the time. We practiced all of the time. There was a big chunk of time where we were living the same lives. Emil Bognar Nasdor: We were living those poems Henry was developing. Forrest Byrd Looker: I think they reflect what was happening to us at the time. The way we were having fucking problems in our lives. We would talk about this shit in the practice space. We'd say, “Oh man, my girl's dumping me.” And we'd all be laughing and partying. We'd be like, “You know what? It's funny because I'm the problem.” A little bit more so than the spiteful shit of *Go Home!*, it wasn’t so much “fuck you.” We started saying, “Fuck *me*. I am the problem.” Henry Wood: I actually like the lyrics a lot on this record. There’s a couple songs about going to jail and “The Ghost” is about coke addiction. I was really into space at the time, so there’s a lot about being lonely and shit and hating my situation. Most of my lyrics are about being suicidal and being lonely. This record reeks of that. They all have quite a bit of that. I listened the other day, and I was kind of surprised at how much I liked it. Logan Montana: We were all living in the same world, we were all going through a lot of the same problems, and we all had to agree on the lyrics. Being in bookings, I’m sure a lot of people could relate to being in a police station. Henry Wood: I’ve been arrested a bunch of times, mostly for dumb shit. “In Bookings” is about a specific time that I got arrested that I don’t even really remember. All the being in bookings stories get all fucking jumbled up in my head. I mean, it’s just weird spats of boring time, you’re in a room for like three days and the only food you have is fucking milk. \[*laughs*\] Forrest Byrd Looker: If my timeline is correct, we had done a bit of touring maybe a month or two before. On the way back, we were kind of finishing writing parts. We were in this little tiny cramped room that could barely fit us and our gear the day before we were set to record in Boston. --- [Stay Home!! by Hank Wood and the Hammerheads](https://hankwoodandthehammerheads.bandcamp.com/album/stay-home?ref=see-saw.fun) *The band decamped to Boston for what they recall as two, potentially two-and-a-half days of recording with Ryan Abbot at his studio Side Two.* Forrest Byrd Looker: We were staying with some punk friends in Boston at their big warehouse. It was a cool ass loft. Logan Montana: Future Nightmare. Yeah that was with Crusty Tim, or Ghost—singer of Sadist from Boston. Forrest Byrd Looker: So we go to the studio, it’s a straight edge space. The first record we had recorded in our own space where we were allowed to do drugs and smoke cigarettes, and in this space we were not. That was kind of one of the stipulations of this dude's recording studio: Please don't do drugs, please don't get drunk, don't smoke, all that kind of stuff that we were so used to at that point. Ryan Abbot (engineer, via email): Recording that record was a blast and I love those guys. I do not remember asking them to not drink or do drugs during the recording—if I did it was definitely more towards 'we have a lot of work to do' not an aversion to drugs. I actually specifically remember Henry getting the right “inspiration” for vocal takes. I don’t drink or do any drugs so sometimes my reputation precedes me, but I wasn't trying to be a killjoy. Henry Wood: I don’t think I would have been in the studio *not* doing cocaine. Forrest Byrd Looker: Dude, I mean at that point I’m used to probably doing like half a gram of coke at night, getting blackout drunk every day, maybe doing some pills along the way. And we were coming out of New York hot, you know what I mean? We would drink in the van, we'd smoke in the van, if we had drugs we'd do them in the van. Any cops reading, no we didn't. Logan Montana: That’s the only record I’ve ever been completely sober writing and recording. That’s my story, I’m sticking to it \[*laughs*\]. Kevin Manion: I didn’t have much of a problem with it. I just knew later in the day, we’d go back to the house where we were staying and party. Max Quinn: Were we not permitted to drink? The thing we do agree on is that this period was very fuzzy. Henry Wood: Maybe we weren’t drinking in the studio. At least not in front of him. Max Quinn: But if we weren’t, we were hanging out with all these Boston guys the nights abutting the recordings and those nights were late. Forrest Byrd Looker: But yeah we were imbibing at every chance we got and I think that night before we went to Boston, we were partying. We went into that space with these raging hangovers, bleary-eyed. We were just like, “Man we're going into this hungover and we can't have any medicine.” Logan Montana: I’ll cop to the fact that we were hungover and sweating it out in the morning, but that’s because at night, we were figuring out the parts to record the next day. That record was maybe halfway done by the time we got to Boston to record it. There were missing parts and missing lyrics, so we would stay up all night not being party animals or anything. I remember Emil, all the xylophone parts and keys parts would be staying up all night playing pool, coming up with piano melodies, bridges for a lot of the songs, lyrics for a lot of the songs, and you stay up all night doing that—drinking or not—you’re going to be sweating it out in the studio the next day. Emil Bognar Nasdor: We had just finished learning it all. Forrest Byrd Looker: I kind of came in and really tried to fine-tune those keyboard parts we were having trouble with. For the record and for touring, I picked up a midi controlled B3 clone wheel is what they call them. It sounded fucking weird coming from that warm real ’60s transistor Farfisa organ sound of the first record, and then going to the second record, it really sounded a little thin and ethereal, which was interesting. Our whole sound went in that direction. Emil Bognar Nasdor: The funniest part I remember for my involvement was that because I had focused so much on writing and arranging, the percussion parts were barely complete by the recording date. I put so much less work into those percussion parts, and in the year that followed, I got so much iller at what I wanted to do on those songs. Max Quinn: At the end of the second day I remember all of us actually having a moment where we did feel like “yeah, we really came together.” There’s a lot of keyboard parts that all of a sudden were really shining on the record. I guess the keys are pretty prominent. Emil Bognar Nasdor: It was an issue back then and throughout the years proceeding, I always remember being really disappointed in the recording aspect. At some point I even reached out to Ryan to get the stems to redo the whole thing. I really care about the macro of an album: how things flow, returning themes, motifs, the overarching image if you were to zoom out and blur all those songs in one image. I thought it was done very terribly on the recording end. So that’s a little harsh. Henry Wood: I have a memory of when we originally recorded it, the mix that we got back from Ryan, the keys were really low. We took it to Josh Bonati, who mastered it, and he did a lot of work to bring the keys all the way up. Josh Bonati, mastering engineer: I remember they came over for the session at my old studio. I had that studio when Toxic State started up. Just John from Toxic State and Henry came to that session. They told me, “Oh we went to the studio in Boston and recorded, we came back and we like the mixes but there’s a couple things we want to pump up that we just didn’t have time to fix.” I think we had to boost some vocals and keys. Mastering is really your last chance to fix any problems and do any enhancements. But that record is cool to me because that was an actual attended mastering session with Henry. Emil Bognar Nasdor: I was going way deeper into production at the time and now I do crazy production stuff. I was just like, “Man, this is the most stale recording.” It sucked the life out of it, especially after the first record which is some of the rawest, illest produced stuff from that period. I think it needed to sound more aggressive and blended. --- *It’s an album that stands apart both in the band’s catalog, and its sound is singular. The members of the band don’t necessarily agree on how to categorize the sound they were going for.* Forest Byrd Looker: When we were recording *Stay Home!!*, we kind of saw that there was not a lot of organ punk out there necessarily, let alone like garage-influenced shit coming out of New York. New York at the time really was either straight up anarcho-influenced or straight up hardcore-influenced punk music. People were not especially interested in garage influenced punk, and if they were it was happening in a different scene. Especially for *Stay Home!!*, we were trying to use the framework of a soul band when we recorded that. Kevin Manion: It kind of became that way. Henry’s got soul, and we have dynamics in our songwriting in what we do. Instead of trying to be a raw punk band or super fast or super heavy, groove was our approach to the songwriting. Logan Montana: I would say that, yeah. Soul music is what we were listening to at the time. Henry more so. Henry’s a musician and composer, not just a vocalist. I know sometimes it just seems like it’s all “oh! baby! yeah! oh! baby! kill myself!” But he plays a huge part in composing the actual music itself—a lot of it comes from Henry. Emil Bognar Nasdor: Henry is one of the best composers from that crew that came up through the 2000s. I think he’s a very brilliant writer in whatever instrument you put him on. I hold him in a very high regard as a composer and player. Henry Wood: All of us listened to a lot of shit that wasn’t just punk. Emil Bognar Nasdor: I studied percussion at the Collective School of Music. It took me four years to do a two-year program—I was very, very immersed. I got really into Brazilian percussion, African percussion. I was very active in all these bands in that scene, but I was also doing way other shit at the same time in that era. I was doing experimental evening-length theater pieces. That rig, let’s just call it the *Stay Home!!* rig, was developed from Latin music studies. Those rhythms were very intentional. It wasn’t just like, “Oh, I’m gonna bleep-blop around these drums”—I studied vocabularies and different styles. I knew I was bringing a different flavor of rhythm to this soul, high on punk, Western guitar music stuff. Henry Wood: I think we were trying to make something different from what we had done before. I don’t have any memory of being like, “Let’s make a soul record.” But it’s hard to say how the music you’re listening is going to affect how you’re writing. Max Quinn: When people hear our band and kind of project our thoughts of what we’re going for. We sometimes get pigeonholed as a garage rock band, and we like to nip that in the bud. Henry Wood: We all came out of punk. I get kind of angry when people call us garage rock. We have no fucking connection to that shit. I think what’s telling about it is that it’s hard to describe us by naming two bands. The classic review formula. “It sounds like this band and this band.” I don’t think we’ve ever said “let’s make a song like \_\_\_\_\_.” Everything we’ve ever done, good or bad, is the thing that comes out. That’s it. It’s an amalgamation of all of us, nothing more and nothing less. --- ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/08/hank-wood-1.jpg) Hank Wood and the Hammerheads at an Atlanta house show in 2014, photo by Renate Winter *After finishing and hashing out the songs of* Stay Home!! in a studio setting *and committing those performances to record, Hank Wood and the Hammerheads would gradually alter the sound of those songs through extensive touring.* Emil Bognar Nasdor: It was like so many records that I was part of during that time and before: You would write the record, record it, and then play it out, and it would always get better, like, a year into playing it out. Henry Wood: We did a big Euro tour. Max Quinn: Between *Stay Home!!* and the self-titled, we did a bunch of little tours. Behavior-wise, we were getting even crazier in a different way. The Euro tour was interesting because we had to play 45-minute sets. Having Emil in the operation, we learned how to be kind of an airtight operation. Henry Wood: There’s a video of us playing in France and we play…“Dog.” What is that actually called…“I’m livin’ in a concrete pit!” Oh: “Shook and Hungry.” Max Quinn: We don’t even remember the names of our own songs. Henry Wood: We got to playing that *so* psychotic. Max Quinn: It became a game to see how fast we could go. Emil would set the tempo to play that crazy syncopated cowbell thing. Emil Bognar Nasdor: My hands cramped up. It was very brute force style. I would really lay into the instruments. I remember trying to push that tempo as much as we could to see how twisted we could get it. And then a few of the other songs, like opening up solo sections live and having more psychedelic, tripped out, longer solos. Forest Byrd Looker: For the first record, I had that old Farfisa. It has the wax wound transistors in it and they would go out of tune all the time. When we started touring, the guys were like, “We're not lifting the fucking Farfisa.” Emil Bognar Nasdor: I’d gotten the rig down to one main stand where I kept the few main drums and cowbell and tambourine. It became something I could pick up and throw in the back of the van where it wasn’t like 40 fucking cowbells. I do remember the tambourine rattling around in the back and people losing their minds. I’d kind of get off on it. “Oh, tambo’s making some noise back there!” Logan Montana: We got better at touring but there were a lot of growing pains, a lot of hard lessons. It was a tough one, but we got through it. No fistfights or anything, except…well no, me and Henry on that last night. Not over anything. It was cute. I think I pushed him while he was peeing on the street, and he hit his head on the wall by accident, and he just punched me in the face. And then we laughed. Henry Wood: That tour was sick. We were playing almost every song we had. We got really, really tight. Hammerheads is always really fun to play, and everyone is such a good musician, and we’ve been doing it for a really long time. I feel like we’d just fall into the pocket, and that’s not always the case, but there was something about that era of us where we got really, really tight. Max Quinn: It’s not very punk to talk about our craft, but we got really fucking good at playing. Emil Bognar Nasdor: When we would really hit into the, for lack of a better term, the flow state—that’s the power of live music when everyone harmonizes into that energy and is really showing up. It was incredibly powerful with six people. It felt amazing when that would all line up. That part’s a very fond memory. The shit was unstoppable. It felt insane. It was just a force. --- *Following* Stay Home!! *and the subsequent tours, Emil decided to depart Hank Wood and the Hammerheads.* Emil Bognar Nasdor: I walked away from a bunch of bands at the same time. Logan Montana: There was no concrete reason, you know? He was getting really into recording music himself. There was no specific flare-up, he was just exploring his own life. There was no sit down or talk, it just kind of organically happened. Henry Wood: I think he just wanted to focus on other things. Max Quinn: Emil is a pretty singularly driven person with whatever he’s working on. Especially after the time of making *Stay Home!!* into whatever we were doing next, this band was demanding a lot more time. Emil Bognar Nasdor: I really wanted to keep expanding the edges of what you can do with music, and I felt that the group was kind of content to continue doing the stuff they were doing. That was really not attractive to me. Henry Wood: We love Emil. He’s doing a lot of really cool shit right now. It took a little bit of adjusting to kind of figure out how we wanted to play without him, but at this point, it feels so natural without Emil. Nothing happened. Max Quinn: We talked for a little while about trying to fill that role and having someone else do what Emil did, and I think we made the right decision. We have a core group of us that have been doing this together; we have this whole dynamic. Emil Bognar Nasdor: I always wanted to change things every night. I was like, “Yo, what if we open up this section? What if we do this?” And people were like, “Yo, what we’re doing works, why do you want to keep fucking with it?” My creative energy is just very different. Different goals. A lot of the time I want to get to a place with creativity where it’s hard for *me* to understand what’s happening. I think that’s where the really wild stuff starts to blossom. --- ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/08/a3412458600_10.jpg) *Looking back on* Stay Home!!, *the band considers the album’s legacy.* Forrest Byrd Looker: In New York, it'll probably be: “Remember these fucking assholes?” I think the legacy of that record is gonna be a cautionary tale or something. At its core it's really a piece about depression and isolation—when you're fucked up and no one wants to be around you. The door's locked and your girl leaves. I don't even think we meant for it to be that way, but at the end of the day, all the songs are about regret. Like, “Fuck man, I fucked up,” and then the next song is, “I’m not gonna fix it.” Logan Montana: The self-titled album is by far my favorite, and I would say that’s kind of the general consensus in the band. We took what we did on the first record and second record, figured out what worked and didn't work on both, and very organically, that's where the self-titled went. Henry Wood: I think *Stay Home!!* was young us being experimental and willing to try new shit, whether it worked or not. The self-titled was that, but one step further. Maybe it’s more confident. It feels like we know ourselves better in the self-titled than in *Stay Home!!*. *Stay Home!!* is thought out, but it has that chaotic messiness that *Go Home!* does. The self-titled, we’re chaotic and messy sounding, but it’s like \[*speaks with cartoonishly assertive enthusiasm*\] “we are chaotic and messy!” --- *Does the future hold another Hank Wood and the Hammerheads album?* Kevin Manion: We all kind of agreed that we’ll write at least one more LP and then call it quits. Logan Montana: I’d love to. Max Quinn: I don’t know. We’d all like to. We’re in a very zen place as a band right now. Henry Wood: Yeah, it’s trickier now because Forrest lives in Texas and Kevin lives in Philly and we’re all older. But I wouldn’t count it out. Max Quinn: We have riffs floating around. Henry Wood: If we get bored enough. --- *see/saw is a reader-supported publication. If you enjoyed this article, please consider a* [*paid subscription*](https://see-saw.fun/about/#/portal/) *to support this independent punk journalism operation.* ### punk this week: billiam, osees, fucked up + 10 more URL: https://see-saw.fun/punk-this-week-billiam-osees-fucked-up-10-more/ Last updated: 2024-08-09T12:46:04.000Z It’s Friday, August 9, and this is Punk This Week. It’s see/saw’s rundown of the new punk and rock’n’roll records that are worth a listen. It’s a massive week for new releases, including a great new one from Billiam, an experimental effort from Osees, two from Fucked Up, plus some massive records from Baby Tyler Band, Big Baby, General Baxter, Booji Boys, Straight Arrows, H8 Mile, and so many more. The full post and all installments of Punk This Week are available to paid subscribers (and [those who barter](https://see-saw.fun/bartering/) their way across the paywall). Free subscribers still have access to interviews, playlists, and other weekly posts. [Please consider a subscription](https://see-saw.fun/about/#/portal/) to help grow this reader-supported endeavor. --- **Billiam: *Animation Cel* \[Erste Theke Tontraeger/Legless\]** [ETT - 107 - Billiam - Animation Cel LP by Billiam](https://erstetheketontraeger.bandcamp.com/album/ett-107-billiam-animation-cel-lp?ref=see-saw.fun) *Animation Cel* is a perfect introduction to this now-sprawling project if it’s your first time tapping in. Defined as much by deep anxiety as it is wall-to-wall outstanding hooks, it’s an album that doesn’t let up from the opening handclaps. “Hydraulic Press” and “The Fog” are imbued with darkness and bite while “Animation Cel” and “Matinee Show” are upbeat romps. “Maid Dress” remains an unbelievable hook, and the album ends with a lovely tribute to the artist Shawn Kerri. There’s plenty to be said about Billiam’s prolific nature, but this album bottles how good he is at weaving together a pile of songs that range from solid (apologies to “Segaworld”) to exceptional. It makes for the best Billiam full-length to date. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/08/a0114261217_10.jpg) --- _This post is for paying subscribers only._ ### playlist: the best punk songs of july 2024 URL: https://see-saw.fun/playlist-the-best-punk-songs-of-july-2024/ Last updated: 2024-08-05T22:22:25.000Z The main thing I deeply missed about the old job was collaboration, so I brought it to see/saw. In July, this publication expanded out to include the voices of some of my favorite writers: Nina Corcoran [on Edging](https://see-saw.fun/edging-believe-in-good-sax-for-a-better-future/), Martin Douglas [on Puppet Wipes](https://see-saw.fun/puppet-wipes-on-albertas-punk-scene-and-the-pressure-of-people-actually-listening/), Allison Hussey [on Magik Markers](https://see-saw.fun/magik-markers-built-an-album-around-a-junkyard-effects-pedal/), and Gem Fair on [Peace de Résistance](https://see-saw.fun/peace-de-resistances-moses-and-the-art-of-solo-project-glam-sleaze/). There’s more to come from writers who aren’t me, and it’s deeply rewarding to get back into a collaborative rhythm. In addition to these conversations with artists about their own music, see/saw included three interviews focusing on the subjects’ passion for punk music. Wand’s Cory Hanson [discussed](https://see-saw.fun/wands-cory-hanson-on-this-heat-martin-rev-and-never-doing-the-same-thing-twice/) how This Heat informed so much of what goes into his life as a musician. The artist John F. Malta [talked about](https://see-saw.fun/artist-john-f-malta-on-the-punk-aesthetics-of-a-7-collection/) the aesthetics of a punk 7" collection (and designed this extremely good social media post). Comedian Dan Licata [talked about](https://see-saw.fun/dan-licata-on-high-vis-mexican-coke-and-funeral-doom-as-sleep-meditation/) High Vis and told a great Mika Miko story in his “Record Exchange” chat. Across July, “[Punk This Week](https://see-saw.fun/tag/punk-this-week/)” featured 46 new blurbs about new punk records. I love writing the column, digging around and finding stuff like Columbus’ Manic Splits alongside coverage of more well-known projects like that final X album. To gain access to all that writing, it’s $4/month or [barter](https://see-saw.fun/bartering/). All the money that’s come into see/saw has gone right back into making this website something special. If you pay for a subscription, trust that I will do something fun and cool with your money. Here’s the monthly list of updates about what’s going on over here: - At publication time, see/saw is just shy of 1,250 subscribers. This was the biggest month of growth for the site aside from its first. It’s been humbling for sure. Thanks for jumping on if you tapped in this past month. If you have friends who like this kind of music, please share a link + encourage them to subscribe. Word of mouth is the primary way this thing grows. - If you follow the see/saw Instagram, you might have seen new designs for [shirts](https://www.instagram.com/p/C-OVLDnzUMT/?ref=see-saw.fun) (by [Ryo](https://www.instagram.com/profbanzai%5Fryo/?ref=see-saw.fun)) and [stickers](https://www.instagram.com/p/C93mbHGNUnb/?ref=see-saw.fun) (by [Kaldrath General Store](https://www.instagram.com/kaldrathgeneralstore/?ref=see-saw.fun)). I’ll have more info on availability for those soon. We’ve got [other stickers and buttons](https://see-saw.fun/merch/). - Speaking of Instagram, you may have noticed that [the](https://www.instagram.com/reel/C-LXPJYu1Vi/?ref=see-saw.fun) [great](https://www.instagram.com/reel/C-AiHJ5O8bW/?ref=see-saw.fun) [ones](https://www.instagram.com/reel/C9zmW%5F5u5WZ/?ref=see-saw.fun) [can’t](https://www.instagram.com/reel/C95AXhFu11V/?ref=see-saw.fun) [stop](https://instagram.com/p/C-DjCfzOMA4/?ref=see-saw.fun) [talking](https://www.instagram.com/reel/C-F8Nz-OknF/?ref=see-saw.fun) [about](https://www.instagram.com/p/C-IS07VONTe/?ref=see-saw.fun) see hyphen saw dot fun. Maybe you, too, would like to tell the world about see hyphen saw dot fun. Shoot me a DM or email. - I’m going to start putting previously free articles that are older than four months behind the paywall (whenever I remember to actually get around to it). If you’re not loving the paywall, I’d love to gently point you in the direction of the [bartering program](https://see-saw.fun/bartering/). - Tom Scharpling was kind enough to talk to me about see/saw on the [most recent episode of *The Best Show*](https://thebestshow.net/episode/getting-kicked-outkicking-someone-out-stories-live-music-from-dolores-galore-tom-goes-back-to-new-jersey-tom-sees-deadpool-and-wolverine/?ref=see-saw.fun). It’s been genuinely amazing to hear from so many Friends of Tom after this. I’m still processing the kind things Tom said about me; obviously go [support *The Best Show*](https://www.patreon.com/TheBestShow?ref=see-saw.fun). - Here’s another hearty and sincere thanks to all the artists and labels who donated records to the July [vinyl giveaway](https://www.instagram.com/p/C9kt2bfOAeK/?ref=see-saw.fun). - And here’s a reminder to come hang with us in the [Discord](https://discord.gg/CHBEwmPSKB?ref=see-saw.fun)! There are a couple updates I’m pocketing as they’re still in progress, but suffice to say they’re exciting. For now, thanks so much for reading. Here’s a playlist (embedded in the browser, but also available [here](https://bndcmpr.co/720f2be3?ref=see-saw.fun)). **see/saw: the best punk songs of july 2024** Citric Dummies: Trapped in a Parking Garage La Llama: Combustión Manic Splits: Fast Food Fight Jacket Burner: She’s So Boring Alien Nosejob: Bird Strike Lasso: Rio Drio White Collar: Petition Signer Waylon Thornton: I’m a High Volt Rolex: Let’s Get Away With It Irked: Crippling Empath Wetflix: G-Force CLASS: First to Finish Last Tension Pets: Magnolia (She’s Back) Ismatic Guru: Into the Muck Love Fiend: Just Like Eddie Pack Rat: Two Makes One Kosmetika: Reward Risk Power Pants: You Got Me Feelin’ Lothario: BBBF Armor: No Matter Mangled: Kick His Ass Abi Ooze: Of Power Cell Deth: Catholic Guilt Sihir: Ahli Sihir + Tak Masuk Akal Electric Prawns 2: Big Man Assistert Sjølmord: Evig Fred Big Bopper: Piss-Ant Spodee Boy: Moonshine Crayon Erik Nervous: R'G'M Easers: Burnt Alive Stfubran: Porky Five Bucks: Super Stanzy Roks Ejaculators: Fuck Off Drrones: Sexter Showroom Dummies: Foam Miner Cimitero: Cucchiaio Di Ferro Gen Gap: Fuckshit Rixe: Tir Groupé Shitty Personalities: Joel Exotic Smooth Brain: Pissed Off Forever FaFa: Alleged Sex Pest Peace de Résistance: Coddle the Rich Artificial Go: Pay Phone EXO: Butterfly ### punk this week: x, poison ruïn, exo + 7 more URL: https://see-saw.fun/punk-this-week-x-poison-ruin-exo-7-more/ Last updated: 2024-08-02T14:46:57.000Z It’s Friday, August 2, and this is Punk This Week. It’s see/saw’s rundown of the new punk and rock’n’roll records that are worth a listen. The final X album is here, plus new ones from Poison Ruïn, EXO, Cammy Cautious and the Wrestlers, La Llama, Jacket Burner, Electric Prawns 2, Kitchen People, Easers, G.O.O.N., and more. The full post and all installments of Punk This Week are available to paid subscribers (and [those who barter](https://see-saw.fun/bartering/) their way across the paywall). Free subscribers still have access to interviews, playlists, and other weekly posts. [Please consider a subscription](https://see-saw.fun/about/#/portal/) to help grow this reader-supported endeavor. --- **X: *Smoke & Fiction* \[Fat Possum\]** [Smoke & Fiction by X](https://xtheband.bandcamp.com/album/smoke-fiction?ref=see-saw.fun) There’s this segment in John Mulaney’s Los Angeles-themed talk show for Netflix where Fred Armisen hangs out with old L.A. punks. The way it’s edited is pretty disappointing. All these heroes are relegated to set pieces for reverent applause at best, elderly punk punchlines otherwise. You’ve got Mike Watt and Exene Cervenka and Kid Congo Powers barely saying a word. In the piece’s effort to pay homage, everyone gets shortchanged. Time would’ve been better spent profiling, say, this final X album. All respect to the greats: *Smoke & Fiction* is a good album. The vocal interplay between Exene Cervenka and John Doe remains a crucial reason to tap in, these comforting harmonies worth nestling into. Billy Zoom fuckin’ rips on “Sweet ’Til the Bitter End,” while “Ruby Church” and the title track rule. It’s not the most consistent record; “Struggle”’s verse is merely fine while the chorus feels pretty iconic. The highs are high, though, for the band’s final showing. Salute to X for the surf riffs in “Winding Up the Time,” for the exceptional vocal runs all the way through the record, for revving up this last time. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/08/a2116889532_10.jpg) --- _This post is for paying subscribers only._ ### peace de résistance’s moses brown + the art of solo project glam sleaze URL: https://see-saw.fun/peace-de-resistances-moses-and-the-art-of-solo-project-glam-sleaze/ Last updated: 2024-07-31T12:13:23.000Z Peace de Résistance plays into the sleaziness and glamor of a frontman-gone-solo from a bygone era. “As soon as the punks leave the punk band they lean into the glam,” says Moses Brown, the brain behind Peace de Résistance. His solo work departs from the dirty anarcho punk rock of Institute, a band he’s been part of for over a decade. It slows the pace in favor of a moody funk, rich soundscapes and vintage rock‘n’roll riffs with a more dramatic flair. Brown started Peace de Résistance in the height of the isolation of the pandemic when making music with others wasn’t an option. In his home studio, Brown began toying around with new sounds: “It was an excuse to just do the things that I always wanted to do in a band but that seemed too crazy.” That experimentation led to the release of his first solo record *Bits and Pieces* in 2022\. *Lullaby for the Debris* is his sophomore release on La Vida Es Un Mus, and it takes the sonic foundations of *Bits and Pieces* a step further. [Lullaby for the Debris by Peace De Résistance](https://peacederesistance.bandcamp.com/album/lullaby-for-the-debris?ref=see-saw.fun) Listening to *Lullaby for the Debris* can feel like time travel, as the record nods to Bowie, Lou Reed and zamrock. It’s the kind of thing you’d hear walking into CBGBs in 1975\. And Brown is singing about the same kinds of recessions experienced in the mid-’70s on tracks like “Pay Us More” in which his words slither over a hazy rush of textures: “It’s hard to make a living when they don’t pay a living wage.” The lyrics feel painfully relevant at a time when monopolies like LiveNation and Ticketmaster are working overtime to make the profession of ‘full-time musician’ an extinct career. “If you want to be successful you have to either work a ton and then go on tour, which is great, or you have to completely buy in and just be on the road for six months of the year,” says Brown. “That feels impossible.” Brown chatted over Zoom about working alone, creating in the online era, writing lyrics for two different projects, and being born old. **You have a new record and you started this project during 2020\. Now that you don’t necessarily have to be alone making music by yourself, what has been kind of like your drive in keeping this solo project?** Moses Brown: The pandemic forced me to make music by myself. When that happened, I kind of realized that it was amazing. I can just do whatever I want. So that kind of unlocked something, and it was an excuse to do the things that I always wanted to do in a band but that seemed too crazy. And having been in Institute and Glue recording records in studios with limited amounts of time, having a whole home recording studio and just having unlimited studio time has been huge too. **When you have total control and unlimited time to work on things, how do you know when something is done or how do you decide when you have to walk away from the song you’re working on?** Right, I mean like I’ve talked to so many people, I have so many friends that have hours of music that are unfinished. And I don't know, for some reason I’m a really good finisher. I just like to wrap things up, and I don’t want these ghosts of songs just sitting around half done. I’d much rather them be done or gone, you know? So I'm just trying to close songs down. And at a certain point too, a song is all it can be. You're like, OK, ‘I've tried X, Y, and Z. The song is essentially just this.’ So let's just end it, let's just be done with it. We're cutting it off. **When you’re writing the song, are you doing them in bursts or do you kind of skeleton something and then come back to it later?** Yeah, I usually skeleton something. And then, you know, work on it for 60 hours. A good day, I could record a guitar track and then start trying to do bass or something else on top of it. But that’s usually as much as I can get done before I get burnt. I have to walk away. **How do you recharge?** Usually I’m trying to just go see people, go to a show. Ideally I’m going to the beach. But there’s some studio days where you’re just kind of stuck at your house. If I need a break I end up reading or watching skateboarding videos. **Sick. Do you skate?** I do, but I’m just so bad now. **I watch a lot of skate videos. In particular, I’ve been watching a lot of quad skating. Those soundtracks, like the music that people are picking, are so good. Recently people are using more retro music, which has been super fun, because I feel like it’s making me revisit things that I haven’t thought about in a while.** Yeah, there’s lots of like 2003 Midwest emo going on. It's like, whoa, I didn’t know this Saetia song was going to be in here, that’s cool. **Maybe one of your songs on this album will turn up in a skate video.** That would be great, yeah. **Has that ever happened?** I don’t think the skaters are really listening to it. They’re listening to Dollhouse or something. I’m the old guy rocker, you know? [Bits And Pieces by Peace De Résistance](https://peacederesistance.bandcamp.com/album/bits-and-pieces?ref=see-saw.fun) **I don't think you count as an old guy yet.** Yeah, that’s true. But maybe in spirit, I think I do. **How long have you been old?** Oh my God, I’ve been old forever. I remember being like 22 and a couple of friends that were in their thirties would just be like, you’re the only one I could talk to. Like, you’re so young, but you’re old. Not wise; I’m just kind of like a curmudgeon. Like I want to go to bed. **I like that you clarified: no wisdom.** No, no—no wisdom. No, no, no. Definitely not. **You came out the womb a little jaded and a little tired.** Exactly, yeah. **This project has a pretty strong visual identity like the photography matches the energy of the record really well, so I’m curious if you’re thinking about the visuals when you’re writing the songs or if that comes later?** There’s just like a certain level of sleaze that I’m shooting for you. Sleaze and glamour, so definitely that's a factor when I’m writing the songs: Is this gonna match the makeup and the weird face on the front of the record? Having it being so photo driven was kind of a response \[to Institute\] because obviously with the Institute record I know I’m gonna draw something. At the start of \[Peace de Résistance\] I was like, “Am I gonna draw something for this? Do I have to learn a new visual language of text for this band?” But then obviously it's a solo record of a punk, so like let’s just like play to the trope and have makeup on the face. I love when people go solo. I can’t really think of a perfect example, but people leaving their bands and going solo, especially punks, and just like leaning into it—I love when punks go solo. Like Nikki Sudden. As soon as the punks leave the punk band they lean into the glam. Leaving the pack and becoming like a whole individual main character. **It’s interesting that you have this solo project that’s leaning into that sleaze and glam has a strong visual element because you don't play shows. Unless that's changed?** Still no, no plans. It still doesn’t make sense. **You’ve previously mentioned that you spend all this time in the studio and you can freely add to it because you’re not thinking like how does this apply to a live performance.** Exactly. I don’t have to worry about recreating it live, like hypothetically if I had a half an hour of songs that would translate well live I’ll be like, “Fuck it!” I don’t have that, and I don’t know if I will have that. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/07/000074420001--1-.jpg) Peace de Résistance, photo by [Jane Chardiet](https://linktr.ee/JanePain?ref=see-saw.fun) **I feel like you’re someone who’s thinking about the state of the world, what it means to be like a person who exists in this capitalistic society, so I’m kind of curious when you’re writing the lyrics for this, how do you balance wanting to speak about those experiences in your music while also not wanting to get in the weeds?** With Institute, like specifically [*Readjusting the Locks*](https://institute.bandcamp.com/album/readjusting-the-locks?ref=see-saw.fun), I listen to songs on that \[record\] now like “What is this song even about?” It's me just reading and absorbing and watching all this heady critique of capitalism I guess, and then I’m trying to regurgitate that. It comes off as you don't know what you're talking about. I tried to tackle big issues or a big overarching thing on that record and it didn't work for me. It’s like I don’t know what I’m talking about. And so for this project, I was like, “OK, I'm just gonna talk about what I know.” I’m just gonna talk about things that I see every day and things that I've experienced. And that felt way better. Like, I'm gonna do a song about paying rent. I’m gonna do a song about going to the pharmacy. I’m gonna do a song about going back to the town that you grew up in. Just approaching these big subjects that we all feel, but from my more layman perspective, and not to sing about things where I don’t know what I’m talking about. **I think you kind of just spoke to it, but you’re writing lyrics for more than one project. So is the process different?** Hmm, it’s hard. I mean, the last Institute record that came out, *Ragdoll Dance*, it was like, “Oh, hmm. I don’t know what to do right now.” But that was fun. I just kind of tried to do a mix. It was just freeform. I was like “I just want to have fun,” and so I did. [Ragdoll Dance by Institute](https://lavidaesunmus.bandcamp.com/album/ragdoll-dance?ref=see-saw.fun) **Are there any songs that you recorded that didn’t end up on this record?** Yeah I mean there’s just a bunch of half finished songs, usually I’ll bail on something halfway through if it’s not gonna work out. **You can sense it?** Yeah totally, I’m just like “this is boring” so I just cut it. **It's almost easier then because then you don't have to pick what goes on the record, you just know what worked and what didn't.** Exactly, yeah, it’s like propagating seeds or whatever. I got 18 seeds and only nine of them are actually going to make it to the plant stage. **Do you let people in during the process, like does anyone hear these songs before they become the record?** Yeah, I’ll play a couple things for some friends, maybe just to get some ideas or just be like ”Is this boring?,” “Is this working?” But for the most part not really. So it's kind of like a surprise. **What is your take on this moment right now where musicians are sometimes being expected to also be online figures? How do you navigate that given that that's not something that you want to do?** I mean, I don’t know. I hear stories about people, like I have friends that work at some of the bigger indie record labels or whatever, and the stuff that you have to do as an artist now, it’s crazy. You have to engage with people and do personalized things. I’m like, “This is so bad.” Like as if musicians weren’t already kind of just like a play thing for people, now they really are. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/07/a1008514898_10-1.jpg) **When I listened to this record, I listened to it with headphones front to back and I was like, “Wow this is a great record!” And then I thought about it in the context of the greater, very broken music industry. How does anyone get a really great record out to people?** I have no clue. Without engaging in this super ass backwards industry? I don’t know, it’s bad. Ten years ago I think you could, there was that sweet spot of like 2008 to 2014 where a bunch of more scrappy punk bands were getting attention, but now to get that kind of attention you have to make compromises. That being said though, there’s a lot of faceless producer people that’ll just drop something on Spotify and all of a sudden have like a million listens, so it can happen, seemingly. **So that’s literally not what you're thinking about. You’re just thinking about making the music.** Oh yeah. I think about it being on a record and my friends buying it and that’s about as far as I go. **Is there anything about this project or this record that you want people to know that I haven’t touched on?** It’s just me sitting in a room. **Do you have the makeup on while you’re recording?** No! Hell no. I got, like, shorts and a funny shirt on. --- *see/saw is a reader-supported publication. If you enjoyed this article, please consider a* [*paid subscription*](https://see-saw.fun/about/#/portal/) *to support this independent punk journalism operation.* ### wand’s cory hanson on this heat, martin rev, and never doing the same thing twice URL: https://see-saw.fun/wands-cory-hanson-on-this-heat-martin-rev-and-never-doing-the-same-thing-twice/ Last updated: 2024-07-29T10:30:09.000Z *“Record Exchange” is a series of conversations between see/saw and a fellow punk enthusiast. Each person brings two songs to discuss. The latest installment is a chat with Cory Hanson of the band Wand, whose new album* Vertigo *arrived on Friday courtesy of Drag City.* When a new Wand album comes along, it’s never clear what the listener is in for. Even the band isn’t sure what’s going to happen when they get together to make a new record. “I just can't do the same thing twice,” says Cory Hanson. “I can't do it. I really wish I could sometimes. Even filling out a W9 or fucking doing my taxes or writing my name, I can't do it the same way twice. I think this has been a problem since I was a kid. It’s called *the ADD*.” *Vertigo* is the latest example—an expansive improvisational work that’s too clear-eyed to be called psychedelic, but sounds like an odyssey. Hanson says Wand have been searching for this kind of clarity in their sound since 2017’s *Plum*. “It feels pretty damn close to representing exactly what we were trying to do sonically as a band,” he said. “It’s an interesting record because it does something that none of our other records do. There’s two sides to it and they’re happening simultaneously. There are these very considered, arranged, carefully constructed songs, but the material they’re constructed out of is just hours and hours of improvisations.” [Vertigo by Wand](https://wand.bandcamp.com/album/vertigo?ref=see-saw.fun) Touring behind the album, Wand opened a couple shows for the Red Hot Chili Peppers. As an L.A. band, this was a coronation of sorts. “It’s really hard not to rep the Chili Peps growing up here. They get a bad rap, some people think that their music is intolerably obnoxious and I get it, I get why you would think that. But when I was 14, watching VH1, smoking weed with my best friend in his mom’s apartment while she was at work and every other music video was a Red Hot Chili Peppers music video while cannabis clouds went into my bloodstream? Yeah, that’s it, it’s over.” “I will say this to anyone that really does not fuck with the Chili Peps: You just gotta watch *Funky Monks* and just try not to like them after you watch that.” He said the whole family would be coming out to see them open for Kiedis and Flea. **Cory’s pick: This Heat’s “Makeshift Swahili” (Peel Sessions)** It’s my favorite Peel Session. They had to do the best Peel Session, of course. This fucking band. They couldn’t just have a mediocre one, like “this is the way we play it live.” It’s like no, we’ll do tons of overdubs, make a mini record. It really gets your blood pressure up listening to shit like that. They’re a huge band for me—a very important band for the way that I think about being in a band with other people and the way that I think about approaching making records. They just do this interesting thing that not a lot of bands do where they treat the record itself as this time manipulation device. They're like, oh, we can speed them up, we can slow them down, we can cut them up, we can take other recordings, we’re making tape loops, we can splice in a part of a live performance. That's the original cut of this song as half of it is taken from a live performance of the song. So they're doing all that and creating sediments of recorded meaning and performance within the music. I think that was really important to the way that we approach music. I don't think that we could have made the record that we made, *Vertigo*, if we hadn't all spent quite a bit of time with *Deceit* that blue and yellow record and *Health and Efficiency*. **see/saw’s pick: The Drin’s “Tigers Cage”** It’s a long tail on that sax, man. Yeah, I don't know. It was OK. I'm not blown away by it. Like lyrically, it sounded more in the world of black metal or something. I'm sensing some metal vibes thematically, but not musically. I don’t know, I just gravitate towards and really obsess about records like \[This Heat’s *Peel Sessions*\], that's more where I'm at. I mean, I've listened to tons of punk music and grew up in the L.A. punk scene. That was where I came up, trying to keep up or like listening to new punk bands. I'd go to shows all the time and see bands. Now I'm not like a genre person. I'm not like, “Oh, I just need to get my fix.” There's lots of people like that and there's nothing wrong with that, but I'm more like, OK, like, you know, “This is fine, this is fine, this is fine…what the fuck is *this*? This thing's *amazing*.” And you know, I’ll obsess about it and get way too into it, and then it'll change my life and then I'll keep making records. **Cory’s pick: Nervous Gender’s “People Like You”** They’re an L.A. band. They had a bunch of very short-lived iterations, but I think this record has Don Bolles on drums. There’s I think one member of the Screamers in the band, so it’s kind of a freaky synth proto-electropunk, even proto-industrial weird band that exists in a weird class of their own. They had very performative, almost happening-style shows. After Don Bolles left, their drummer was an 8-year-old child. There’s a lot of good footage of that. I thought it’d be cool to throw in a weird jewel of L.A. punk history that’s often not really talked about. **see/saw’s pick: Suicide’s “Love So Lovely”** I love Suicide. They're a very unique band; they really stick out in that world of New York punk and no wave and stuff. It almost feels like they were just happening on a parallel line to all that stuff because they're just out of fucking nowhere. It’s like they're from outer space or something. I saw Martin Rev, like, a few months ago. He was fantastic. Alan Vega's vocal style, his performance, it's hard for me to think of anyone else like that. There's a lot of imitators, but nobody does it like that. It's, like, spooky, weird, witchy music to me. They do this thing that I like a lot on the production side, or on the Martin Rev side. Like this ’80s production thing, it feels kind of weaponized. It's, like, dangerous. He’s taking all these hi-fi production techniques and just being like, no, this is evil stuff now. I'm gonna do bad things with this. It's the same with early Suicide where he's got a farfisa and a little rhythm box and he’s like, oh I can’t imagine what kind of horrible things I can do with this thing. --- *see/saw is a reader-supported publication. If you enjoyed this article, please consider a* [*paid subscription*](https://see-saw.fun/about/#/portal/) *to support this independent punk journalism operation.* ### punk this week: peace de résistance, white collar, the sleeveens + 6 more URL: https://see-saw.fun/punk-this-week-peace-de-resistance-white-collar-the-sleeveens-5-more/ Last updated: 2024-07-26T11:32:15.000Z It’s Friday, July 26, and this is Punk This Week. It’s see/saw’s rundown of the new punk and rock’n’roll records that are worth a listen. This one’s led by the new album from Peace de Résistance, the glam rock solo project of Institute’s Moses Brown. There are also new records from White Collar and the Sleeveens. We also take a moment to introduce Piss Wizard. The new one from Ireland’s Bedsores is pretty sick, too. The full post and all installments of Punk This Week are available to paid subscribers (and [those who barter](https://see-saw.fun/bartering/) their way across the paywall). Free subscribers still have access to interviews, playlists, and other weekly posts. [Please consider a subscription](https://see-saw.fun/about/#/portal/) to help grow this reader-supported endeavor. --- **Peace de Résistance: *Lullaby for the Debris* \[La Vida Es Un Mus\]** [Lullaby For the Debris by Peace De Résistance](https://lavidaesunmus.bandcamp.com/album/lullaby-for-the-debris?ref=see-saw.fun) The second album from Moses Brown’s Peace de Résistance features a pile of slinky glam rock. The guitar sound is fluid and the vocals ooze personality out of his lax mouth. There’s a significant injection of Lou Reed in the DNA of this music, a temperament so laid back it’s easy to wonder if he’s actually laying back. There’s a lot going on in this music, a layered sound constructed with the studio and not the stage in mind. It’s a gutter-level takedown of the rich, this greasy deep-voiced makeup-donning poet dispassionately watching developers ruin a town. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/07/a1008514898_10.jpg) _This post is for paying subscribers only._ ### magik markers built an album around a junkyard effects pedal URL: https://see-saw.fun/magik-markers-built-an-album-around-a-junkyard-effects-pedal/ Last updated: 2024-07-23T10:51:17.000Z The three musketeers of Magik Markers are far apart these days: drummer Pete Nolan and bassist John Shaw live a few hours apart in Massachussetts and Vermont, while guitarist and vocalist Elisa Ambrogio resides in northern California with Ben Chasny, who’s known elsewhere for his artistry as Six Organs of Admittance. Despite their geographical differences, the long-running trio pulled together a surprise, synth-heavy release, [*A New Kind of World*](https://arbitrarysigns.bandcamp.com/album/a-new-kind-of-world?ref=see-saw.fun), which arrived on Bandcamp on July 5, ahead of a rare stretch of tour dates in California. Nolan started booking the summer outing back in December, aiming to take advantage of the seasonal break he gets from teaching special needs second graders. A record came together much faster as the tour approached, with Nolan and Shaw carving out time to jam together at Nolan’s home studio. Ambrogio completed the tracks and their mixes with some final touches from Chasny a few hours before uploading them to Bandcamp. “Elisa really did a killer job of pulling different sounds out of it, because I think what John and I had done was a lot more loud, or it wasn't as refined,” Nolan says. “I wasn’t sure that it sounded like Magik Markers, and then as soon as Elisa was finished with it, I was like, ‘Oh man, this sounds like Magik Markers!’” *A New Kind of World*’s title track opens the record with a 26-minute sprawl, stretching outward from a slow churn into open electronic waves and spiky guitar. The rest of the record continues through a parade through images of weird America, with name-checks and nods to Arlo Guthrie, skunk weed, Coney Island, distant stars. Within “Boomer Sadness,” Ambrogio deconstructs Joni Mitchell’s “Both Sides Now” to imagine another outcome for the elder icon. The peaty foundation of murky synths developed from Shaw’s refusal to give up on a revamped pedal in his armory, while Nolan borrowed his daughter’s Stylophone drum machine for a new rhythmic palette. Nolan and Ambrogio exchange plenty of laughter as they talk about the fast-and-loose nature of their latest creation, with Shaw getting ribbed and revered in absentia. Companionable energy and fuck-it attitudes among the Markers seem to roil nonstop, even from afar. “There's a weird positive where \[the music\] ends up being more than the sum of its parts,” Ambrogio says. “Despite our best efforts, we end up doing good things when we come together.” She and Nolan logged on from opposite coasts to chat some more about keeping their creative engines running and the other forces behind *A New Kind of World.* [A New Kind of World by Magik Markers](https://arbitrarysigns.bandcamp.com/album/a-new-kind-of-world?ref=see-saw.fun) **How do the three of you figure out working together while you’re far apart?** Elisa Ambrogio: Mind practice. John just got a smartphone—I don't know if you heard about these, but you can text on them. Pete Nolan: It doesn't actually work where he lives, though. He lives in the middle of nowhere, so I'll text him, and four days later, he’ll do a “Haha.” John and I practiced a few times. Elisa had this idea to make a new recording to go along with this tour to help pay for it. John's father-in-law is a forager of dumps, and he's always finding weird, crazy shit. John had a pedal that his father in law found, and it was some kind of an Akai synthesizer called Deep Impact. He wanted to try that out, because he said he tried it at home, and just it made him cringe. But it felt good when we jammed together. Elisa: So we went ahead and based the whole record on it. **Did you come at this project like “let’s make an album,” or were you just working on some new material to take out?** Elisa: It was sort of improvisatory, pretty quick. First thought, best thought; finding different stuff that is fun about making music, different sounds and ideas, trying stuff out that we had been thinking about doing. It's not as formal as one of our full-length records that we are a little bit more methodical with. Pete: It was pretty loose. We’ve had the thought, “We should work remotely, figure out how to do that.” This is the first time we've really kind of pulled it off. John and I just jammed a bunch of stuff and recorded it, and I edited that down and sent the tracks to Elisa. Elisa: I got the recordings, and the first track was 26 minutes. I was like, *Sweet*. I wanted my guitar really spare and sparse, not loud and not overwhelming, sort of vulnerable guitar, just like *beep*. It was, like, a little guy, and I because there was such a force with the synth sounds and these overwhelming bass tones and washes of sound. So for me, it was just sort of listening to my band and being like, “Oh, this band rules. I love this band,” and kind of just playing along and singing some stuff. It all came together really quickly. I think that's sort of the way that it works best. It was Fourth of July when I recorded the end of the vocals. Local people were lighting off fireworks, so as I was recording, talking, singing and moving tracks around—when you write this, you can put in parentheses, “Elisa makes mouth sounds of fireworks and synths.” **You were doing the vocals on the 4th of July, and then released the record the next day? I’m curious, too, about the logic behind doing it as a surprise release.** Pete: We really are just trying to pay for the tour. And guess what, we are two-thirds of the way there! We decided to make it into a CD too, so there will be a physical version of it that we can sell on the tour as well. Putting something up on Bandcamp the next day, that does feel pretty fucking punk, but not that big a deal. It’s not that hard to do. Elisa: It’s not that different than anything we’ve ever done. We would be like, “Oh, we have to go on tour, take the show from last night and put it on a CD-R.” **And Elisa, how did you go about writing lyrics for a 26-minute song?** Elisa: *Very* carefully. With almost every single song I work on, I feel like I come up with an idea—not a thesis statement, but just an idea. I write a lot, every day, I have notebooks and notebooks and Apple notes. I will listen on headphones, over and over, to tracks and sounds, and if I have a vibe, it will come from the music. I kind of look through words, and through chance operations, something will just go like, Beep! Hello! Click! Sometimes it's nothing I've written down, just stream-of-consciousness, or whatever—not trying to be precious, just listening to what other people are doing and responding in real time. **As you worked on your pieces of the record, were there any particular moods or themes that either of you were chasing?** Pete: When John and I got together, I had just recently seen this Instagram post of the artist Paul McCarthy. He does the stuff with Mike Kelley, and it's all pretty gross, weird performance art, super strange shit. He posted a super long jam that he had done. It looked like this ultimate noise show, but it was so sick. I was just like, “Oh, man, I love this. I'm gonna watch the whole thing and show that to John.” We watched this, and then we're in that headspace, and we were just like, “We have all this new gear, we're just going to fuck around with it and try to just find sounds.” Elisa: I had watched this really, really beautiful documentary about this woman, Berenice Abbott. She was 92 or something, and she just kept learning and growing, trying new things and taking risks. In any phase of your life, you can either calcify and shut down. I remember I was 26 and my friend was like, “We’re not kids anymore. We have to grow up,” as though art, music, or writing was some childish thing to put away. It was so inspiring to watch this woman go from being in the same scene as Gertrude Stein in postwar Paris to taking some of the most beautifully rendered scientific photography. As soon as I heard the synth, I was like, “Science!” I immediately thought of Berenice Abbott and that joyful freedom feeling, where you could just feel that Pete and Shaw were in their element and their joy in what they were doing. It just translated. Within that was just like something that, to me, was free and open—like outer space, and that kind of weird optimism of space. I don't know why that reminded me of Coney Island, it felt fun and automatic. That's sort of a weird Coney Island, America feeling, too—that automation and man-made ambition and weird openness. I thought about Coney Island, Arlo Guthrie, and people like that. When I was little, my dad and my papa always brought me to Hampton Beach in New Hampshire. A singular and defining story of my childhood that I was told over and over was “Arlo Guthrie held you on his lap in the swimming pool.” **I was going to ask if that was real!** Elisa: It was not only real, it was repeated like a mythology in my childhood, over and over. I didn't know one single Arlo Guthrie song. I didn't know that his dad was Woody Guthrie. I didn't know anything about him. I was like, “He must be a very important man.” **“Boomer Sadness” tugged at my own heartstrings—I really like what you did pulling apart “Both Sides Now.” What’s the story or thought behind what the band did with this one?** Elisa: I don't know if there was a note or if there was something in what Pete said, but I just instantly started singing Joni Mitchell to it. I was like, “Wow, Joni never made her *Trans*.” I thought, “I'll just do it for fun.” Thank you for even knowing what it was. I was like, “I don't think anyone's gonna even know what this is.” As much as many people love Joni Mitchell, she's so under appreciated as a songwriter, as a musician, as a technician. She's a labyrinth inside of a maze locked inside a box. **You guys are coming up on 25 years together as Magik Markers, what do you still like about working with one another?** Elisa: We didn’t say we liked it. \[*both laugh*\] Pete: It’s so much fun. We all crack each other up a lot. If I was going to give my daughter advice about being a band, the main advice would be, “Get into a band with people that you would enjoy sitting in a car with for eight hours, and it will not get boring.” Elisa: I was just thinking, “Oh man, I'm so stoked to find out what Shaw and Pete have been listening to and watching and thinking about.” It’s never what I am listening to or thinking about or watching, but it's always something I want to be thinking about or listening to or watching. Pete: It's also long-haul conversations. I called John to ask him one yes-or-no type question today. But before I could get to that, we had to talk about blueberries for 12-15 minutes, because that's what John was up to right now. --- *see/saw is a reader-supported publication. If you enjoyed this article, please consider a* [*paid subscription*](https://see-saw.fun/about/#/portal/) *to support this independent punk journalism operation.* ### punk this week: mexican coke, lasso, rolex + 6 more URL: https://see-saw.fun/punk-this-week-mexican-coke-lasso-rolex-6-more/ Last updated: 2024-07-19T12:04:23.000Z It’s Friday, July 19, and this is Punk This Week. It’s see/saw’s rundown of the new punk and rock’n’roll records that are worth a listen. It’s an intense new batch to discuss today, with the chaotic Mexican Coke LP, Lasso’s excellent *Parte*, plus new ones from CLAMM, Rolex, Grimly Forming, Irked, Wetflix, and more. How are you gonna learn that Manic Splits are a sick new Columbus band if you don’t read on? The full post and all installments of Punk This Week are available to paid subscribers (and [those who barter](https://see-saw.fun/bartering/) their way across the paywall). Free subscribers still have access to interviews, playlists, and other weekly posts. [Please consider a subscription](https://see-saw.fun/about/#/portal/) to help grow this reader-supported endeavor. --- **Mexican Coke: *Mexican Coke* \[Convulse\]** [Mexican Coke by Mexican Coke](https://convulserecords.bandcamp.com/album/mexican-coke?ref=see-saw.fun) Oscar the Grouch on a chopper and the song title “White Pantera” offered enough of a way into the world of Mexican Coke’s new album, but the band sealed the deal with their absolutely unhinged chaos whorl. The Houston hardcore band’s approach is insane. Three guitars, meanwhile Carlos is up front growling like a big cat Animorphing into a hurricane. According to the lyric sheet, most of the songs are tough guy shit about getting into fights or whatever, so it’s easy to read *Mexican Coke* as an emboldening record for when you need to face down the world. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/07/a2733976817_10.jpg) --- _This post is for paying subscribers only._ ### artist john f. malta on the punk aesthetics of a 7" collection URL: https://see-saw.fun/artist-john-f-malta-on-the-punk-aesthetics-of-a-7-collection/ Last updated: 2024-07-17T11:30:40.000Z *“Art Punk” is a new see/saw interview series where visual artists discuss punk record covers.* [John F. Malta](https://johnfmalta.com/?ref=see-saw.fun) will not be in his maximal Kansas City office for much longer—a move is imminent—but the space paints a clear picture of his overall artistic moodboard. There’s color everywhere, pop culture exploding across his shelves, Tetsuya Naito over one shoulder, *The Simpsons*’ Jimbo Jones over the other. Punk and wrestling permeate his illustrations and comics, where bendable figures don toothy scowls and zero pupils. “The cocktail of my work is the aesthetics of early punk graphics and the energy of professional wrestling,” he said. Malta grew up in Cleveland going to punk shows during high school, which imprinted on him both aesthetically and philosophically. He still goes to punk shows all the time, but those teenage experiences were understandably formative. “I was drawing a lot at that time, so that started to lay the groundwork for the way I draw now.” His work includes [posters](https://johnfmalta.com/Film-Television-Posters?ref=see-saw.fun) for iconic films and TV shows, and one of his best was for *Wayne’s World*. “I got a copy of *Wayne’s World* from McDonald’s on VHS in the early ’90s and just wore that out,” he said. “When I was a kid, I was like, ‘Oh I hope I can be an adult like Wayne Campbell when I’m older. That was my goal as a four- or five-year-old.” Malta recently self-published the comic [*Rotten Metropolis*](https://johnfmalta.com/Rotten-Metropolis?ref=see-saw.fun), a dystopic piece that’s more autobiographical than it might appear. It’s based on video conversations between him, his younger brother, and his cousin on the Marco Polo app. “My little brother has been sending me lots of great reflections on our childhood and I’ve been transcribing them, and I’ve wanted to drop them into a story, but I didn’t necessarily want to make something specifically the story of my life.” Those stories became lore for Gunk the Punk, *Rotten Metropolis*’ protagonist. “He has a computer installed inside his head. You’re seeing him go throughout his day and fight gigantic bats and eat weird food and listen to music and then he'll cue up a memory. Really, it’s something that happened between my little brother and I.” Malta’s work hangs in the personal cigar lounge of the wrestler Taz and has appeared in museums. He was kind enough to choose and discuss the aesthetics of five 7" records from my collection. --- **Power:** [***The Fool***](https://powermelbourne.bandcamp.com/album/the-fool?ref=see-saw.fun)**\[Feel It, 2019\]** That style of punk that infuses glam and rock'n'roll together, I love so much. One thing that it always reminds me of, and this like one of the first things I thought of when I listened to that song’s riff, is that scene in *Wayne’s World* where they're first going to Gasworks and going to see a concert. I know the music that’s played in that probably isn’t as hard as this, but this interview had me reflecting on what were really early memories of being interested harder, heavier music and those scenes came to my mind when I heard “The Fool.” I don’t know a lot about tarot cards, so I looked up to see if it was like a variation of The Fool, but The Fool is...I don’t really want to speak about tarot like I know what I’m talking about, but the graphics I’ve seen were not like this. The thing that drew me to this one outside the music, the reason I chose it, was because I love the typography. It’s that hand-drawn brick type that’s so iconic and eye-catching, and just the minimal use of black line on like a red flat red cover just looks so good. The sketchy sort of rough quality of the drawing, too, is great. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/07/a2316888872_10.jpg) --- **Electric Chair:** [***Social Capital***](https://ironlungrecords.bandcamp.com/album/social-capital-lungs-179?ref=see-saw.fun) **\[Iron Lung, 2021\]** I love the band Electric Chair. That’s one of the bands on the list you shared that's on a lot of playlists I make. I had not heard this 7", and yeah, that first song on this—“Bastards”—is just so hard. It starts with this great heavy riff, and yeah, the overall aesthetic here is great. The different type uses in “Electric” and “Chair?” I love the drawing kind of shoehorned underneath the type, and then the blast—the electric “Capital”—is really great. There’s so many good things going on. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/07/a2178077870_10.jpg) --- **Little Angels:** [***Psycho Summer***](https://11pmrecords.bandcamp.com/album/psycho-summer?ref=see-saw.fun) **\[11PM, 2023\]** The black glove is really cool, and the tattoo? Yeah, it’s a classic cover. Everything about that opening song “S.I.C.” is perfect—the blast beats, the crunchy guitars, the howling vocals? Nine songs in 10 minutes? That’s a perfect ratio. But yeah dude, that cover is so good. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/07/a1747408503_10.jpg) --- **Chit Chat:** [***Chit Chat***](https://chitchatband.bandcamp.com/album/chit-chat-7?ref=see-saw.fun)**\[PRTYNGG!, 2012\]** I’ve always been into different kinds of older surf music. There’s this surf compilation that I love called *Surfbeat Behind the Iron Curtain* that's really great. I really love the track “Jelly” on this. It’s two minutes of surf guitar and I really love their range of vocals—they have a different role in this, too. The psychedelic typography here is so good, just the pink and orange together I think look really great. I always love bands that make you decode what their name is or decode what you're looking at. It's the kind of record that you would see in a store and be like, “OK, I think I'm gonna like this,” and because it’s a 7" you pick it up. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/07/a2307712093_10.jpg) --- **S.H.I.T.:** [***Feeding Time***](https://staticshockrecords.bandcamp.com/album/feeding-time?ref=see-saw.fun) **\[Static Shock, 2014\]** It’s very noisy, very chaotic, and just very distorted. The title track “Feeding Time” just slowly builds, everything homogenizes maybe 30 seconds into the song and just goes crazy, like you can kind of hear it all, kind of. It’s almost like a haunted house cassette or something. The art is great, it’s done by Sam Ryser. I was looking it up and was pretty sure that was his work. I think in talking about current punk graphics and stuff, Dripper World is crucial. I lived in New York City for a while and that whole little punk alley in Brooklyn is so sick. Actually \[*points to a tattoo*\] this is from Street Fever, the tattoo shop that’s in there. Dropper World was in there for a while, and the graphics are so great. The graphite drawings of open mouths match the way the band sounds so well. It’s cool when a cover reflects the music in a way. That neon yellow color just looks like highlighter, almost like it’s quickly scratched onto it. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/07/a3669912002_10.jpg) *see/saw is a reader-supported publication. If you enjoyed this article, please consider a* [*paid subscription*](https://see-saw.fun/about/#/portal/) *or grabbing some* [*merch*](https://see-saw.fun/merch/) *to support this independent punk journalism operation.* ### puppet wipes on alberta’s punk scene and the pressure of people actually listening URL: https://see-saw.fun/puppet-wipes-on-albertas-punk-scene-and-the-pressure-of-people-actually-listening/ Last updated: 2024-07-15T16:14:42.000Z *“We’re Puppet Wipes. Fuck you.”* Over Memorial Day Weekend, I saw Puppet Wipes perform three times in the span of four days. The first time I saw the Calgary trio, no one I spoke to after at Total Punk Corporate Retreat could stop raving about them. The second time, Gerard Cosloy and Tom Lax were among those in attendance. The third time, I was minutes removed from a sort of awkward, ever-so-slightly starstruck chat with Calvin Johnson. That’s not to paint them as a “next big thing” or any sort of music biz hype fuckery; just an observation that real heads know Puppet Wipes. There are two versions of Puppet Wipes that exist in a continuum with each other. One is the recorded version, the basement dwelling art kids who created [*It’s Called Punk, Are You Stupid?* ](https://puppetwipes.bandcamp.com/album/its-called-punk-are-you-stupid?ref=see-saw.fun)and [*The Stones Are Watching and They Can Be a Handful*](https://puppetwipes.bandcamp.com/album/the-stones-are-watching-and-they-can-be-a-handful?ref=see-saw.fun); the latter released courtesy of Lax’s all-time great label Siltbreeze. (Think XV on cheap psilocybin mushrooms, running amok in the stockroom of a pawn shop.) The other barnstorms stages as a punk trio, teeming with smart lyrics, hysterical banter, clanging chords, and—unlike on their “studio albums” thus far—honest-to-g-d grooves. In May, NO Label NZ released [*Live at Pompeii II*](https://nolabelnz.bandcamp.com/album/live-at-pompeii-ii?ref=see-saw.fun)—yes, a cheeky nod to the Pink Floyd concert film—as the first recorded evidence of the greatness of Puppet Wipes live. The 8” lathe cut vinyl has long been sold out, so you’re just going to have to buy the digital album on Bandcamp like I did. Same for the band’s forthcoming inclusion on Total Punk’s Order of the Dirty Plates singles series—only you’re shit out of luck if you didn’t subscribe, because none of those singles are available digitally—which features a killer live band version of “Puppet Wipes Theme.” (“It has a lot of swearing,” says vocalist/guitarist Arielle McCuaig. “That’s what the people want, so we’ll give it to them.”) About a month after their show-stealing weekend—coincidentally enough, on Canada Day—I spoke to McCuaig, Kayla MacNeill (bass/vocals), and Jay Wong (drums) through the modern marvel of video chat software. We spoke at length about the punk scene in their home province of Alberta and later they playfully swiped at the purported “exoticism” of Canada. “It’s sickening,” McCuaig jokes regarding the audience’s reception to their off-kilter and quintessentially Canadian banter. “They just wanted us to dance for them, like, ‘Say toonie!’ And then I said ‘meter’ and everyone lost their minds. They were like, *‘Ohhhhhhhhhhhh!*,’ like they had never heard of a frickin’ meter before!” Elsewhere in our interview, the band chatted about the live iteration of Puppet Wipes being borne out of necessity, and going from being a group who couldn’t even get their friends to muster any enthusiasm for their first tape to putting out music on some of the most beloved punk labels in North America. We were frequently interrupted by fighting cats. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/07/puppet-wipes-by-martin-douglas.jpg) Puppet Wipes live at Turn Turn Turn!, May 26, 2024\. Photo by Martin Douglas. **Tell me about Calgary. I feel like the only things that I know about Calgary, I learned from Bret “the Hitman” Hart.** Jay Wong: That's the most important thing. The Dungeon, the Hart Dungeon. Kayla MacNeill: Yeah, the Hart family means a lot to Calgarians, for sure. Jay Wong: His brother was a substitute teacher, and I think we've all had him. He taught gym class, and wore weird cowboy boot sneakers. Like wrestling cowboy sneakers, but strapped up. Arielle McCuaig: Stampede Wrestling’s cool. What else is good from Calgary? Kayla MacNeill: Calgary's kind of funny because it's a bit—*\[the screeching of cats floods the call\]*—Hey! Hey! Hey! Hey! Hey! Hey! Sorry, the cats are fighting. Calgary's funny because it's a bit yuppie. And it's becoming more expensive to live here. So it's a fun little dynamic. Arielle McCuaig: It's like a big oil and gas town. So there's lots of money from oil and gas, but there's kind of a recession going on in regards to that. Kayla MacNeill: So it's just a bit shit too. They got money, but yeah, it's a bit of a funny city. We like to think it's like Cleveland, maybe a little bit. Arielle McCuaig: Yeah. We like to think we're like Cleveland where it's kind of shitty, but the people are really good and really funny. **Tell me about the punk scene in Calgary.** Kayla MacNeill: We're like grown up punks now. Yeah, we're kind of old and out of touch. There's cool stuff happening. Lots of kids doing lots of like grind bands right now. Arielle McCuaig: There's lots of kids doing stuff. We're a bit older because we're all in our thirties. It seems like it's in a good state right now. Like lots of young kids really wanting to do good, put on shows, bring \[in\] out-of-town bands, and start bands and stuff. It's like, some of the music is not necessarily my thing, but there's some cool stuff. Jay Wong: We’re a very grindy town. Arielle McCuaig: I’m not a grinder. *\[laughter\]* **You mentioned that y'all are old punks. What was the scene like when you were actively in the scene and going to shows all the time? I'm just being presumptuous there. Maybe you didn't go to shows all the time. I don't know.** Jay Wong: We kind of came up in a bit of a heyday. I think we were very lucky. We had a lot of friends that were actively trying to book bands from other cities; outside of Edmonton, the closest city is Vancouver, and that's 12 hours away. So to get a band to tour, to drive out and tour, is a really tall order. I think nowadays, a lot of bands are just doing fly-out gigs, like a weekend in Calgary and Edmonton and flying out, you know? So we kind of had to make our own scene. Arielle McCuaig: No one was coming here. Kayla MacNeill: No one wanted to come here. It's too far away. Arielle McCuaig: There was a festival called [Garbage Daze](https://www.vice.com/en/article/rzea3a/garbage-daze-no-problem-interview-2016?ref=see-saw.fun). There was a scene of hardcore bands in Calgary. Jay and I used to be in a band called [Glitter](https://peeblood.bandcamp.com/album/glitter-self-titled-mini-lp?ref=see-saw.fun). That was part of that. And that was kind of like our heyday \[in\] our early 20s \[as far as\] stuff that was going on. **Tell me about some more of the bands that y'all have been in. Cause I know, Arielle and Kayla, y'all were in** [**Vacuum Rebuilders**](https://vacuumrebuilders.bandcamp.com/album/anything-else-is-a-compromise?ref=see-saw.fun) **together.** Arielle McCuaig: Vacuum Builders was like the first band we played in together before Puppet Wipes. Kayla MacNeill: I also played bass. Arielle McCuaig: I played guitar. Our friend Ashley played guitar. She's now in a band called [Brass Lip](https://brasslip.bandcamp.com/album/vol-i?ref=see-saw.fun), that's really good with the drummer who was our drummer, Warren, who's also in the band [HOME FRONT](https://arewenothomefront.bandcamp.com/?ref=see-saw.fun). Kayla MacNeill: So a lot of good friends around. Jay and I play in a band called [Yankee Cowboy](https://peeblood.bandcamp.com/album/yankee-cowboy?ref=see-saw.fun), which is another band that plays very rarely, but a great band. Arielle McCuaig: Top notch. A fave of mine, they're the Alpaca Brothers of Calgary. I'll say it again and again and again. The best quote we ever got. I was in a band called [Janitor Scum](https://peeblood.bandcamp.com/album/demo?ref=see-saw.fun) that Jay played in the live band of, [Janitor Scum and the Scums](https://peeblood.bandcamp.com/album/janitor-scum-the-scums?ref=see-saw.fun). We did like a couple of tours of the States before. My first band was a band called the Throwaways when I was a teenager. Right out of high school I played in that. I'm in a solo thing called [Anonymous Carpetting](https://peeblood.bandcamp.com/album/anonymous-carpetting?ref=see-saw.fun), which I just put out a tape for. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/07/puppet-wipes-by-arif-ansari.jpg) From the first Puppet Wipes show in 2020\. Photo by Arif Ansari. **What led to Vacuum Rebuilders turning into Puppet Wipes?** Kayla MacNeill: Different cocoons, I think. Arielle McCuaig: Different cocoons. Kayla and I have always been really close, but we never really played music together before. And I think that was kind of like the jumping off point. We were like, “Why aren't we doing this together?” Kayla MacNeill: We just wanted to make some music together. Arielle McCuaig: We like spending time together. And then we just got the ol’ 4 track or 8 track. Kayla has a 4 track and I have an 8 track and we go between houses. And we would make a couple of songs one day at one house and make a couple of songs another day at another house. Kayla MacNeill: Not really thinking much. And no one liked it! None of our friends liked it. Arielle McCuaig: None of our friends. We made the first Puppet Wipes tape but no one liked it! **That was *It's Called Punk, Are You Stupid?* I liked that tape.** Jay Wong: I never had a chance to get one. Arielle McCuaig: You were on tour, and I had them on tour the whole time. Kayla MacNeill: [Dynamite Hemorrhage](https://dynamitehemorrhage.com/?ref=see-saw.fun) was always very good about that. Shout out to Jay. Arielle McCuaig: Jay Hinman. He always was supporting the Puppet Wipes, and played the Puppet Wipes tape. We made this tape, and it had a file folder. It was full of documents, documents that all corroborated the songs. Kayla MacNeill: It was elevated music making, perhaps. Arielle McCuaig: Elevated music, it was very free, the freest of musics. And we had so much fun, no one liked it, and then Jay Hinman played it a bunch, and then, then Tom Lax from Siltbreeze just emailed us one day, because he was like, “I heard your tape on YouTube and I really liked it, do you want to put out something on Siltbreeze?” And we were like, *whaaaaat?* Kayla MacNeill: Mouth drops. Arielle McCuaig: Flabbergasted. **I would feel the exact same way.** Kayla MacNeill: It was fucked up, man. It was weird. It was crazy. Arielle McCuaig: And now he's our old pal. Kayla MacNeill: He saw a little bit of magic in that demented tape. Grateful for him, his ability to do that. And then it took us three years to make the record. He asked us to make the record and then COVID hit. Arielle McCuaig: Yeah, we're also we're a bit slow sometimes, you know, and we dawdled along and made the record. Kayla MacNeill: And when you make a tape that we did—for fun, not really thinking, and then I think he thought we were a *band*, and wondered if we could re-record the songs on the tape. Which I don't think we ever really did, because they weren't repeatable to a large degree. We play some of them now, but it's a very different… yeah. It was different making a record \[knowing\] someone's gonna hear it. Arielle McCuaig: Well, in a lot of the songs we couldn't reproduce because a lot of our songs are like one take, first take, first thought, best thought. Trying to capture lightning in a bottle, you know? [Puppet Wipes-The Stones Are Watching & They Can Be A Handful lp by Puppet WipesThe Stones Are Watching & They Can Be A Handful lp](https://siltbreeze.bandcamp.com/album/puppet-wipes-the-stones-are-watching-they-can-be-a-handful-lp?ref=see-saw.fun) **Was the process different with *The Stones Are Watching and They Can Be a Handful*?** Arielle McCuaig: It was pretty similar, but it was weird because there was pressure. Kayla MacNeill: The only thing that was different was we were very strict. Not strict, but we just used tapes because we like to record on tape. But the pressure of accidentally deleting like a lightning-in-the-bottle, one-take-wonder situation on tape became a bit of a stressor for me. It's so easy to do the thing that you think you're gonna accidentally do. So we went into GarageBand, through the four tracks and what have you. So it's a tape computer \[hybrid recording\]. Arielle McCuaig: We didn't really use, like, effects or anything from the computer, really. It was mostly just as a tool so we could not lose all our tracks. But it was still fed through the tape machine into the computer, so it's a kind of demented way of recording. Kayla MacNeill: A little lo-fi tippy. *\[laughter\]* [Live at Pompeii II by Puppet Wipes](https://nolabelnz.bandcamp.com/album/live-at-pompeii-ii?ref=see-saw.fun) **On your recordings, y'all have a really cool, kinda loopy, experimental, one-take-wonder style, but live, y'all are a straight-up fuckin’ punk band. Was it important for you to make your live show different from your recordings?** Arielle McCuaig: No, it just kind of happened naturally. Kayla MacNeill: I think we had to play a show in a week. I think it was a Sled Island show. Yeah, and we were trying to jam to a drum machine. Kayla MacNeill: And it was not going well. That one time we did perform as Puppet Wipes live it went great; it was so much fun. Arielle McCuaig: We played a show that was just Kayla and I. This was right before COVID and it was just tape loops and pieces of paper that we read off and threw into the air and a clarinet going and, and the four track playing backing tracks and posters and medieval outfits. We had the synth going. Kayla MacNeill: We had a lot going on for one gig. Arielle McCuaig: It went good, but then Sled Island came back \[after COVID lockdown\] and we applied, and then we were like, “Okay, how are we going to play this show?” And we were like, “I can't figure this out.” Kayla MacNeill: The drum machines weren't syncing up with us. We ran out of time. So we asked our dear friend, Jay. “Jay, can you play a show in a week? All these songs that you've never heard before.” *\[laughter\]* Jay's a drum legend. Arielle McCuaig: No problem. Kayla MacNeill: He's got it. Got it raw. We needed him, man. Arielle McCuaig: We needed him. And he's perfect, he's a perfect fit for Puppet Wipes. It's a perfect, perfect trio, because we're all best friends, and we just really get along, so it's really fun to be in the band with them. I don't know if this is a trope: We're chuckleheads. Kayla MacNeill: We're chuckleheads. Arielle McCuaig: Lots of people I think are in bands with other people they aren't really close with, sometimes. And they're just like straight down to brass tacks, *let's jam*. But we like to get together and then we sit on the porch for about an hour and we shoot the shit and we hang out and then I'm like, “Oh, I guess we should jam.” Kayla MacNeill: It's not very mechanical. Jay Wong: A three-hour jam. Two hours on the porch smoking cigs. Arielle McCuaig: *\[laughs\]* He’s never smoked a cigarette in his life. But long story short, I guess like why it's a straight up punk band is like, I guess we've all just been in punk bands and that's just like what we know. Kayla MacNeill: Some of the songs that we turned into pretty straight ahead punky songs. Arielle McCuaig: And some people might get bored listening to experimental music live, so then you put in a driving drum beat and some loud guitars and they'll stay! *see/saw is a reader-supported publication. If you enjoyed this article, please consider a* [*paid subscription*](https://see-saw.fun/about/#/portal/) *or grabbing some* [*merch*](https://see-saw.fun/merch/) *to support this independent punk journalism operation.* ### punk this week: assistert sjølmord, doubt, abi ooze + 7 more URL: https://see-saw.fun/punk-this-week-assistert-sjolmord-doubt-abi-ooze-7-more/ Last updated: 2024-07-12T11:56:28.000Z It’s Friday, July 12, and this is Punk This Week. It’s see/saw’s rundown of the new punk and rock’n’roll records that are worth a listen. It’s a doozy of a week with phenomenal records from Oslo’s Assistert Sjølmord, Baltimore’s Doubt, Milwaukee’s Abi Ooze, Chicago’s Tension Pets, Buffalo’s Ismatic Guru, two bands from Philly, and so much more. The full post is available to paid subscribers (and [those who barter](https://see-saw.fun/bartering/) their way across the paywall). Free subscribers still have access to interviews, playlists, and other weekly posts. [Please consider a subscription](https://see-saw.fun/about/#/portal/) to help grow this reader-supported endeavor. --- **Assistert Sjølmord: *Assistert Sjølmord* \[Static Shock\]** [Assistert Sjølmord by Assistert Sjølmord](https://assistertsjolmord.bandcamp.com/album/assistert-sj-lmord?ref=see-saw.fun) This Oslo hardcore outfit’s name translates to Assisted Suicide, and when reached for lyrics, the label pointed to this statement in the liner notes: “The music we love has no relevance without the liberation of the oppressed.” The global prognosis is grim, and this music is fucking great. The first song on the Assistert Sjølmord EP features gruff laughter and one long sustained scream over raw power distorted guitar and d-beat drumming. You can hear that passion in the screaming, but the magic of the Assistert Sjølmord record is in the details: flashy but abrupt guitar solos, bass lines that feel shockingly soulful, and again, that instinct to just fucking laugh in someone’s face when push comes to shove. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/07/a3183532153_10.jpg) _This post is for paying subscribers only._ ### dan licata on high vis, mexican coke, and funeral doom as sleep meditation URL: https://see-saw.fun/dan-licata-on-high-vis-mexican-coke-and-funeral-doom-as-sleep-meditation/ Last updated: 2024-07-09T17:20:29.000Z *“Record Exchange” is a series of conversations between see/saw and a fellow punk enthusiast. Each person brings two songs to discuss. The latest installment is a chat with stand-up comedian Dan Licata, who just released an excellent new stand-up special. His new podcast* Chicken Podmesan *is reportedly imminent.* Look it’s not a spoiler: You’ve had plenty of time to learn that as a teenager, Buffalo stand-up Dan Licata jumped off the roof of a church holding an umbrella. It was because of *Jackass*, and yes, the fall fucked him up good. “My mom sent me a text not that long ago that was like, ‘Do you need this,’” Licata said over a video call. It was a list he wrote while confined to the downstairs of the family house with two broken legs. “I was instructing my dad, like, ‘Go on the family computer, you need to burn me a CD of all these songs.’” That list reveals Licata’s taste as a teenager. Obviously, the *Jackass* influence was there; he also cites the *Tony Hawk’s Pro Skater* soundtracks as formative. The list he wrote for his dad included the Germs, Black Flag, and Adolescents. He was also getting into early Dischord and first wave L.A. punk. These days, he lights a candle and listens to doom metal to help him sleep. “I can't meditate,” he said. “People have been trying to like tell me ‘you should try to meditate before bed.’ I can't do that but I'll put on some really slow funeral doom type stuff—that’s my version of meditation.” To learn the proper story of this time of his life, you must take in *For the Boys*, a beautifully gonzo performance filmed for a school auditorium audience of teen boys. “I feel like the log line of something should get a laugh, ideally,” Licata said. “I would tell the concept to people, and like 90% of the time they would start laughing. But then there was like 10% of the time they would be like, ‘Huh. So why would you want to do that?’ Then I'm like, all right, well, this ain't for you.” Licata recently made his late night television debut on [*Seth Meyers*](https://www.youtube.com/watch?v=8J5iq9cZ0sw&ref=see-saw.fun). “It was very much a big question mark in my brain as to how the studio audience was going to respond to it. With those NBC studio audiences, there's a huge chance I'm going to get a wall of blank stares. But they were into it. Really horny crowd.” He says the reception to the special has been broadly positive; he also got a DM from Ryan Phillippe. “He’s like, ‘It re-framed what a comedy special could be in my mind,’ and I was like, ‘Alright, man.’” **Dan’s pick: Real Blood’s “Promise”** They were born out of this band Flagland. I’m buddies with them. I found them immediately after moving to New York in 2011\. They were one of the first bands that not only I would see all the time, but also I became friends with them. They broke up, I can’t remember exactly when, but it was one of those where they’d been together for close to a decade and just hated each other and split ways. So the first and last song in the special are by Real Blood. Over the end credits, this is the song that plays. I was thinking about that way before I even shot it; I kind of had those two songs in mind. The lyrics themselves are fitting. “I promise you that it’s not gonna go how you planned.” In the special itself, I’m performing for these kids that aren't totally digging it the whole time. I feel like the lyrics are kind of prescient. It’s all of them kind of going nuts while the gym teacher clobbers me with the cookie tray. I just wanted something that had this sort of primal release and this song kind of just satisfied both needs. Thematically and energy-wise, it works. **see/saw’s pick: Mexican Coke’s “White Pantera”** I’m trying to figure out what kind of effect they had on the vocals. It reminded me of grindcore vocals. When I think of hardcore bands, it’s just a little more of a staccato in the voice. This was more like a monster growling. The double entendre of Mexican Coke, like which one are they referring to? **Dan’s pick: High Vis’ “Mob DLA”** Their last album *Blending* came out two years ago or something. It's just never stopped being in rotation for me. I remember when it first came out, I started listening to the album start to finish, and there were just so many songs I was obsessed over. I know this sounds hyperbolic, but I really do feel like it's a perfect album. Every single song is so different and so good on its own. It’s one of my all-time favorite albums. So when this one came out, it was like fuck yeah. One of the best bands just released a new song. But I was also nervous. Like goddamn, they knocked it out of the park so hard last time. Can lightning strike twice or is this gonna be a letdown? I listened to it once, and immediately, I listened to it three more times. They stuck the landing once again. I should have never doubted them for a second. **see/saw’s pick: Ekko Astral’s “Head Empty Blues”** What was that line, something about Molly Shannon? The vocals and music behind it clashed in a way that worked. It’s not quite the same but it did feel like it’s harkening back to Mika Miko. Do you remember them? There’s a lot of that lyrical style in punk, where it’s just an absurdist non sequitur, like, “Don’t dig any deeper into it: ‘Turkey Sandwich.’” Random story that just popped in my head. I don’t know how good a story it is. One time, me and my sisters were driving somewhere in one car, and my mom and dad were behind us, and we were listening to Mika Miko, and we were really blasting it. My dad texted us. He was like, “I can hear your music from the car behind you.” And we were, like, “Oh yeah? Well if you can hear it, what do the lyrics say?” And he said, “I want a ham sandwich.” When we got to the place, we were like, “You could really hear that?” And he was like, “What are you talking about? I just made something up.” He was bullshitting us, but the only song we were listening to was “Turkey Sandwich.” *see/saw is a reader-supported publication. If you enjoyed this article, please consider a* [*paid subscription*](https://see-saw.fun/about/#/portal/) *or grabbing some* [*merch*](https://see-saw.fun/merch/) *to support this independent punk journalism operation.* ### punk this week: mordecai’s ragged minimalism, sihir’s unstoppable debut + 6 more URL: https://see-saw.fun/punk-this-week-mordecais-ragged-minimalism-sihirs-unstoppable-debut-6-more/ Last updated: 2024-07-05T12:06:20.000Z It’s Friday, July 5, and this is Punk This Week. It’s see/saw’s rundown of the new punk and rock’n’roll records that are worth a listen. First up is some disorienting and minimal excellence from Mordecai, plus an unbelievable debut album from Sihir. There’s also the latest from Florida’s Armor, Chicago miscreants Ejaculators, the post-Spray Paint project Rider/Horse, and some goth-y Washington post-punk from Excess Blood. All that and some stellar singles from Lothario, Erik Nervous, Big Bopper, Electric Prawns 2, and others. The full post is available to paid subscribers (and [those who barter](https://see-saw.fun/bartering/) their way across the paywall). Free subscribers still have access to interviews, playlists, and other weekly posts. [Please consider a subscription](https://see-saw.fun/about/#/portal/) to help grow this reader-supported endeavor. --- **Mordecai: *Seeds From the Furthest Vine* \[Petty Bunco\]** [Seeds from the furthest vine by Mordecai](https://holtbodish.bandcamp.com/album/seeds-from-the-furthest-vine?ref=see-saw.fun) There’s a lot of talk about experimental Columbus rock’n’roll music in the description of the new Mordecai album, and it’s to *Seeds From the Furthest Vine’s* credit that the Jim Shepherd and Mike Rep comparisons hold water. *Seeds* is ragged and minimal, a basement tape jam where the entire album is untied loose ends. The final minutes of the album unfold in this track called “Down in an Alley,” and it’s actually maybe the best starting point. Across several minutes, a lovely little organ melody is interrupted by clanging and feedback. The nice stuff comes at a cost, like when you grab the furthest juiciest raspberry and tangle your forearm up in thorns. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/07/a2716108319_10.jpg) _This post is for paying subscribers only._ ### edging believe in good sax for a better future URL: https://see-saw.fun/edging-believe-in-good-sax-for-a-better-future/ Last updated: 2024-07-03T11:56:16.000Z Edging are here to have a good time, and part of that process includes getting the bad stuff off their chest. How do you balance an at-times ridiculous approach with heavy subjects? “Honestly it's kind of a way to make those topics more digestible,” said singer Faith Callaway. “They are so serious, and especially live. I'm always down in the crowd and it's pretty aggressive because I'm screaming in your face, but then I always follow it with a giant smile, you know?” The Chicago five-piece are goofy and loud and not afraid to get dirty—arguably more literally than most. Callaway, guitarist Will Sallee, and saxophonist Tyler Meneese formed the band while picking soil out from under their fingernails during their day jobs as landscapers, quickly bonding over their love of high-octane music, cheeky convos, and a need to push for better societal growth. Edging is both an expected double entendre in regards to its risque sexual reference, and an unexpected double entendre when it comes to its family-friendly gardening term. It’s form-fitting for a band of proud, hands-on punks. On their sophomore album, April’s [*Concrete Cumming*](https://edging.bandcamp.com/album/concrete-cumming-2?ref=see-saw.fun), Edging squeal through saxophone-driven punk songs with a rock’n’roll wink. Callaway screams with a petulant tone, dragging cops through the mud, flipping off people who get their pronouns wrong, and rolling their eyes at the stubborn people whose ignorance blocks tangible change. Grounding them in their emboldened sound are newest members Jimi Hargraves on bass and Adam Hatcher on drums. Rather than holding down the rhythm section, the two constantly speed it up, lending *Concrete Cumming* the sensation of nervous jitters that bubble into a talk-of-the-town performance onstage. Recorded live in Philadelphia with producer Evan Bernard and mastered by Grammy-winning engineer Howie Weinberg through a wild turn of fate, *Concrete Cumming* is what you wish basement gigs sounded like without wearing earplugs and before tinnitus became the invisible staple of adulthood. Over the course of an hour-long call in June, Callaway, Sallee, and Hatcher sat down together to discuss the patchy formation of their band back in 2018, their unlikely evolution over the years since then, and how a handful of unlikely events helped shape their ridiculously fun new album. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/07/EdgingGoblins-75.jpeg) Edging, photo by Trevor Prickett xx Jacqueline Lin **How did the topic of music first come up while y'all were working as landscapers? Did it take long to figure out you had this shared interest?** Will Sallee: When we first moved here from California, Faith started working at this landscaping company and then got me a job there, too. We had been writing a little music together – Faith was playing cello at the time, I played keys. It was very different from what Edging is. Then Tyler \[Meneese\] got hired there within six months to a year of us, and he was the one that was really hounding us to play music. He was like, “I moved to Chicago to get to the city and play with people. I’m really enthusiastic to do this.” I was hesitant at first, but I was just going through therapy to be able to write music again, actually. Faith Callaway: Yeah, and I had another co-worker that also played music, so that came up right off the bat. Like, “Oh cool, we're going to be sitting in a van working together for hours. What kind of music do you listen to? **So had Tyler just moved to Chicago at that same time?** Will: Yeah, we are all pretty much transplants. Tyler was from Carbondale in Southern Illinois. I'm from Miami, Florida originally. Faith's from South Carolina. Adam Hatcher: And I’m from Decatur, Illinois. Not too far south from here, but I moved to Chicago when I was 21 and just never really went back home after that. So I consider myself Chicago at this point, you know? **What type of people do you meet, in terms of co-workers, in the landscaping business? Is it common to come across people into punk in that sphere?** Faith: I think it’s more common. Will: Surprisingly, when you go to garden centers and stuff, the people that are doing the real physical install labor, at least as far as we go, I haven't met a lot of punks but– Faith: I've come across a lot of different people. I’m 37, and the older I got, I saw more and more people in it. Around your 30s is when people start to go, “Oh yeah, the *trades*.” Especially instead of working in the service industry. I saw a lot of people rotate into that, even floristry. Will: Punks and trades is where it will be. Faith was doing design and installs in landscaping, and I mostly do carpentry, but like landscape carpentry. [Concrete Cumming by Edging](https://edging.bandcamp.com/album/concrete-cumming-2?ref=see-saw.fun) **When you first started deciding what Edging would sound like, what were the key foundations you built the band on?** Will: Personally, I knew I wanted to play loud. I had been in a lot of bands that were more reserved or loungy, even. So I knew I wanted to get angry and aggressive. Faith: I had been in bands and played other instruments, but I never sang before so that was a whole new process. I definitely knew I wanted to scream, even if I didn't know how to. \[laughs\] I was very into the idea of sax also, but Tyler has a really amazing jazz background and that took a second for him to get it. He came in and I was like, “Oh my *god*, you’re so talented! You’re such a great player. Can you just drag it through the dirt and fuck it up? Like act like you don’t know what you’re doing?” Will: Faith and I had been listening to the band Pill a lot at the time—RIP Pill—so immediately when he said he played sax, we both looked at each other and knew that was exactly what this band would be getting. It was perfect. It's funny because the first EP that we have online, I think Tyler plays bass, Faith is singing, I’m playing guitar, but my co-worker’s son recorded the entire thing and played drums on it, and that was when we first got Tyler to play sax on the songs. **Interesting that Tyler was pulling double duty then. So how did the saxophone initially come up? Did he know he wanted to play it in the band from the beginning, or did he reveal that was in his arsenal later on?** Will: Tyler is a multi-instrumentalist who can play *everything*. When I was really writing these Edging songs with Faith, Tyler would come over and jump on bass at first. Faith and I switched off on drums while writing. Back then, it was a whole different thing, just us trying to figure out what we wanted to do. We all play a lot of instruments, so that was a period of pure creation. Before we even met up to play together, we were talking at work one day and one of the things that Tyler mentioned was that his main instrument and what brings breath to his life is the saxophone in general. The sax is Tyler and Tyler is the sax. Adam: They’re attached at the hip. He will not leave it in the car or anywhere. It goes where he goes. **He keeps it on the neck strap, walking everywhere with it on.** Faith: I mean literally, yes. \[laughs\] Adam: If he lived in New Orleans, he would. \[laughs\] Faith: We were on a flight where they told him there was no more room for carry-ons and it was too late to check it. We asked if it would fit in the carry-on and they doubted it, but he marched right on that plane sure as shit and stuffed it in. We had no idea if it would fit, and I don’t think he did either, but he wasn’t going to part with it. But it did! Wooo! Thank god. \[laughs\] Adam: He was fully prepared to stay in Philly with his saxophone if it didn’t fit. Like he would buy another plane ticket to escort his saxophone if that didn’t work out instead of shipping it. Will: So it was almost like the universe aligned, because Tyler wanted to play the sax more than anything and we wanted a saxophone player more than any other instrumentalist in the band. Tyler is a great songwriter, great at bass, great at whatever he touches. He’s phenomenal. So we lucked out. **In an interview with the** [***Chicago Reader***](https://chicagoreader.com/music/edging-punk-concrete-cumming-good-sex/?ref=see-saw.fun)**, Tyler said he's been playing jazz saxophone since he was 10 years old, but that it took some adjusting to learn how to play a looser, dirtier version for a punk band. When you know your instrument that well, it essentially becomes a process of unlearning what’s been ingrained in you. What do you remember from those initial first practices with him on sax?** Adam: I got this because he’s talked to me about it a million times. Tyler approaches the saxophone like it is the lead guitar. That's the only way he figured out how to make those two things mesh, because he can play guitar as well. The sounds that he wants to make are as if he was riffing or playing chords on a guitar, but translates it to be dirtier. It’s a combination of jazz saxophone and southern rock, which he loves and is the shit he plays on guitar. It’s like if Lynyrd Skynyrd chose a saxophone instead of lead guitar. That’s what he’s trying to do. **Saxophone has a pretty long history in punk, from X-Ray Spex or the Stooges or Flipper on through to Downtown Boys. Why do you think that instrument works so well within the genre?** Will: It's almost like what Adam was touching on with the lead guitar aspect: it’s a sound that you can only get out of one instrument, and if you get it right, then it sounds cooler than a guitar. And that’s rare to have an instrument that sounds cooler than the guitar. Adam: Because it’s still bright. It doesn’t not share the same range that a lead guitar would up on the neck. Faith: Or even vocals! We play off of each other a lot in that regard. It’s almost a more intensified or exaggerated chorus or vocal line in response to what I'm doing. Our band would be empty without it. I can’t imagine it without him. Will: Plus, saxophone sounds pretty cool in most other genres, too. Don’t get me wrong: saxophone and punk? The *shit*. Saxophone in general? The *shit*. **Your new album, *Concrete Cumming*, is ridiculous and fun, but it also goes through some serious topics in the process. How did you balance those two tones without sounding like you're mocking yourselves?** Will: It’s the Mary Poppins theory: a spoonful of sugar makes the medicine go down. Faith: That's also a thing that I couldn't imagine *not* doing. In the writing process, it’s kind of hard to make a joke. “[Pissing in the Street](https://edging.bandcamp.com/track/pissing-in-the-street?ref=see-saw.fun),” for instance, everybody loves it and I’m like, “Agh, it’s not serious enough! It doesn’t have a good enough message!” **Meaning you wish the message was more serious or people are misinterpreting the message?** Will: Well when we write, we try to write intentionally with a message in mind. Especially on *Concrete Cumming*, I would be riffing and Faith would ask what’s the next thing that's making us angry? We’re just yelling answers out, like, “Jeff Bezos! Amazon!” That’s how “Trash City” came about. Faith: Right. “[ACAB](https://edging.bandcamp.com/track/acab?ref=see-saw.fun)” was one of our first songs for that album, and that one just came so easily. Of course, you know? *Hot topic* \[laughs\] but super fucking important. We’ve played that song a few times and, surprisingly, the crowd can be mixed on it. We’ve had times where someone’s like, “But my uncle is a cop! My dad is! He’s one of the good ones!” And it’s like “...*Eurgh*.” But I always try to write with severe intention while being playful. Or the sound is playful, but the message is very clear. Adam: It’s like Faith writes almost independently of the music-writing process, so we are playful as instrumentalists. When I'm writing Edging songs, I always try to keep everything I play danceable. I try to keep disco beats in mind, or pop punk, things that make people move so that it's heavy but you want to jump around for joy. It's those kinds of dichotomies that we throw in there. A lot of times when we're writing, we'll start playing a song and then Faith will pull up something they’ve written down. That’s how those songs form: the serious content is almost completely adjacent to the song until we mash them together. Will: We’ll be piecing together our parts, fleshing out a song, and then Faith will be readjusting this entire poem they wrote prior to fit the music we just came up with. **You sing with a lot of urgency, which by nature lends that same gravitas to the subjects you're singing about. What are some lines you're especially proud of, or maybe some lyrics that felt necessary to get off your chest or include?** Adam: Well “Fuck You Sir” is a classic for a reason. It’s a thing that people experience constantly, where they’re misgendered. It’s an anthem to let that out, a catharsis. There’s a lot of catharsis in Edging music, whether it be from stuff that we’ve personally experienced or through a lens that people can view on their own terms. Will: For me, it's “All cops can suck my dick/All cops can rot in hell/Yeah, even the gay ones.” \[laughs\] Faith has some great lines. Adam: “Sick Box” always sticks with me. That’s a pretty scathing critique of the healthcare system if you really break it down and look at the lyrics. It’s really just a thesis on how shitty healthcare is. Faith: Honestly, I always love screaming, “Fuck us” at the end of “Trash City.” That’s it. It just hits. **There was a day where I listened to “Trash City” on repeat for two hours. It’s just so addicting and wild, like everyone is coming up with their parts on the spot but staying in sync.** Adam: It's easily the song that all of us throw simple parts to the wind and play the hardest thing that we can possibly play at specific times. We usually play it last at shows, because if I play it before then, I use every last ounce of my energy. Will: Yeah, Adam’s played it through injury while biting a shirt even. Adam: We got in a car wreck on the way to a video and— Will: That’s not a car wreck! We hit a speed bump and his arm bumped on some wood and it hurt his shoulder and— Adam: A car wreck is a car wreck, okay? I didn’t say it was a *really bad* car wreck. I just said it was *a* car wreck. Faith: Oh god. \[laughs\] I actually chipped out a whole fraction of my tooth at a show. During the set, I was down in the crowd and someone bumped the microphone into my mouth and I was like, “Whoa my teeth feel *crazy*.” And Will asked if I was good, so I wiggled my tooth and a whole chunk fell out. I stuck it in my pocket and just started screaming. Then when we finished, I cried for like an hour. \[laughs\] **What did you learn from writing and recording your debut, *Good Sex Music*, that influenced how you approached *Concrete Cumming*?** Will: Where we spend our money, or at least how wisely we spend it. Adam: I got a lot out of the experience, because it was my first album that I learned with the band, since I didn’t actually write those drum parts on that album. The drums on that album are actually played by Kaleen \[Reading\] from Mannequin Pussy. So big shoes to fill and definitely not a lot to ask from someone, you know? Faith: We were like, “You can do the same thing, right? It’s just Kaleen.” \[laughs\] Adam: Learning those parts definitely influenced me to think in a different way from my other band and the way that we play, which is a lot more ‘90s alternative. **For *Concrete Cumming*, you recorded in a professional studio *and* hired a mastering engineer – both a first for the band. What was that experience like?** Will: Man, it happened so fast. It was actually a pivot, not a plan. We were gonna do a mini tour and play Philly and New York because flights were very cheap, friends would lend us gear, it would be fun. Much to our chagrin, it’s very hard to book a show a month and a half out. So we lined up a fire show in Philly, but couldn’t in New York. One of my good homies who’s an engineer lives in Philly and his studio is there, so our pivot was to spend 24 hours at a studio re-record *Concrete Cumming* with Adam on drums and a better sound than the demos. **So you recorded this entire album in 24 hours?** Adam: Yep, I did all the drum parts in seven hours. Will: And we recorded an EP in there, too. Adam: Yeah, we did another five or six songs that will come out later. The vocals were recorded under a different session in Chicago, but with the same engineers. Then that engineer mixed it for us, and we were sitting on the mix, shopping it around, and of course Ben Katzman texts us saying, “Hey, I know a guy. I can send him your thing.” The guy ends up being Howie Weinberg. The same Howie Weinberg who got a Grammy for “Soak Up the Sun,” which I love. Will: This guy did Jesus Lizard, Nirvana, Metallica, Beastie Boys, just prolific. Like everyone. So we’re like, “Thank you, but to be honest we don’t have much of a budget.” But then he offered to do it for cheap… and then he did it? And got it back to us in 24 hours? So we ended up with these crazy masters that just blew our mind by a guy with dozens of Grammys. Even our engineer pissed his pants. Faith: Everybody was like, “Um…can you give me his contact?” Will: We were still shopping it around with different engineers when Ben just casually made this connection to the mastering master himself. Of course. So casual. \[laughs\] Adam: It all happened so fast that we didn’t even get time to process it. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/07/IMG_0206.jpeg) Edging, photo by Trevor Prickett xx Jacqueline Lin **Did you try anything new in the studio?** Adam: Just the five new songs that we recorded while we were there. Faith: Yeah, that EP. Will: I mean, we'll call it an EP. We might record more and turn it into a record, but we'll give you the name of it at least because it's sick. It's called *Unload Your Shame*. Five songs that we had been jamming on, had lyrics to most of them, and were just itching to try to squeeze them in. We were only really prepared for *Concrete Cumming*, though. Even Jimi was working on a couple of the basslines in studio there with Evan \[Bernard\]. It was really cool. Adam: There were a lot of things. I didn’t realize we were going to record the album until three weeks before, because the original game plan was to do a mini tour instead. So I started rewriting a lot of parts. There are things I play on that record that I repeat now, but were completed in that studio session. Evan, who recorded us, has a keen ear. After the first take of every song, he made minor suggestions that really helped, especially on “Ghost.” In that 24 hour period, his suggestions helped beef up the record. He was the one who suggested that, on the last take of “Trash City,” I go full on wild, pull out all the stops, go as hard as I could for just one take. That’s the take that we ended up keeping and how I now play that song everytime. Will: A good producer can do a lot. Evan Bernard is one of the best musicians in the world, but also engineers. He will give you perfect feedback. He’ll always make a song better. He’ll tell you when you didn't do a good take, and when you did do a good take, and how to find your tone. If Ben Katzman is the unofficial sixth member of Edging, then Evan is the unofficial seventh member of Edging. Faith: We’re just slowly growing into a cult of some kind. Adam: It’ll be the Edging Family Band eventually. Will: But we won’t kill anyone, promise. We just yell about stuff. Adam: Oh, I was thinking of the Partridge Family. I don’t know what you were thinking. \[laughs\] ### playlist: the best punk songs of june 2024 URL: https://see-saw.fun/playlist-the-best-punk-songs-of-june-2024/ Last updated: 2024-07-01T12:42:15.000Z A theme grew out of the work in June—what does it look like to be a creative person? So much of what see/saw published in the past month seemed to boil punk rock blogging down to its primordial goo. [Shogun’s words](https://see-saw.fun/shogun-on-royal-headache-antenna-and-a-completely-fucked-music-industry/) about vulnerability and the music industry seemed to resonate broadly. Chris Landry’s [discussion](https://see-saw.fun/you-should-read-rate-of-decay-the-great-2-toronto-punk-zine/) of his punk zine *Rate of Decay* got into that drive to create something tangible. I got a note from someone indicating they’re taking the [Cincinnati punk community open forum](https://see-saw.fun/the-cincinnati-punk-scene-open-forum-at-feel-it-record-shop-was-beautiful/) as a potential guidepost for launching something similar in their own scene. Ultimately this is why I always wanted to write about music. Figuring out what drives people to create things is kind of an impossible question, but it’s an especially important one in the world of punk and rock’n’roll. People lose jobs going on tour. Streaming services barely pay anything if they pay anything at all. Making things in this climate is a compulsion. What’s behind that? Why do it? Is the artist trying to outrun something? Is it an attempt to let the bats out? see/saw is at least partially about chasing those questions. In addition to the aforementioned pieces, the “[Punk This Week](https://see-saw.fun/tag/punk-this-week/)” recommendations column is still trucking, with new punk, garage rock, and hardcore blurbs for $4/month or [barter](https://see-saw.fun/bartering/). Here’s what else is going on: - By the end of June, see/saw hit just shy of 900 total subscribers, which is unreal. My next goal is to reach 1,000, and the only way that happens is through word of mouth. I’m going to keep making goofy videos and handing out flyers to try to galvanize support, but consider hitting up some friends or loved ones and recommending see/saw. - Very soon, some of the best rock writers in the world will contribute to see/saw. Everyone is getting paid for their work, and that money is coming from [paid subscriptions](https://see-saw.fun/about/#/portal/). If you like what I do here and want to see it grow, [please consider buying in](https://see-saw.fun/about/#/portal/). - Interested in flyering for [barter](https://see-saw.fun/bartering/) or to help support this operation? Here’s a [PDF](https://www.dropbox.com/scl/fi/q9dsee0gyaqeh4emf96ez/See-Saw-Final.pdf?rlkey=o2ex7kdb1l9zoddhzz8m5yld5&e=3&st=zpvdfgkz&dl=0&ref=see-saw.fun). - The Eau Claire newspaper [*Volume One* did a nice article](https://volumeone.org/articles/2024/06/24/344209-punk-rock-attitude-former-pitchfork-writer-launches-menomonie-music-newsletter?ref=see-saw.fun) about me and see/saw. - I’ll have a table at the [Eau Claire Makers Market](https://www.ecmakersmarket.com/?ref=see-saw.fun) on July 12 at Phoenix Park. Come say hey and grab a sticker or button! - [*Endless Scroll*](https://x.com/endlessscroll%5F?ref=see-saw.fun) welcomed me on the pod to discuss the punk to indie pop pipeline, hinged on Soup Activists and Silicone Prairie but also Angel Du$t Militarie Gun. A great hang! Tune in. - Pick up the first issue of the new zine [*Portable Model*](https://www.twoflatpress.com/shop/p/portable-model-issue-1?ref=see-saw.fun); I’ve got a piece in there about collecting CD binders. I also wrote a [piece about Mary Timony](https://www.nytimes.com/2024/06/26/arts/music/mary-timony-washington-dc-mentor.html?ref=see-saw.fun) and mentorship for *The New York Times*. It’s shaping up to be an exciting inaugural summer for see/saw. I’m having a massive amount of fun, and I can’t wait for y’all to see what’s next. Below, find the best songs from June 2024 (embedded in the [browser](https://see-saw.fun/playlist-the-best-punk-songs-of-june-2024/), but also [available here](https://bndcmpr.co/b9380983?ref=see-saw.fun)). **see/saw: the best punk songs of june 2024** Billiam: Maid Dress Prison Affair: Apuñalamiento (pero Entre Colegas) Autobahns: Ciapa Male Electric Prawns 2: TV Screen Shrudd: Skin Fan Club: Hospital Beds Shop Regulars: Off Season Walker Rearranged Face: Serpentstone Isotope Soap: From the Trees Snooper: Company Car Marcel Wave: Barrow Boys Ménage Détroit: I’m a Fool American Muscle: Best Band in Detroit The Sheaves: Leisure Facts (Domestic Exp) RONi: Highway Express Workers Comp: Pressure Today Geoduck Diodes: G.E.O. Dux Five Bucks: H82W8 Lucta: Incubus Osees: Cassius, Brutus & Judas D.A.R.Y.L.: Get Out of My Way Jacket Burner: Short Fuse Dirt Sucker: Chili Dog Spit Mitraille: Good Mornin’ Champ PUST: Un des peu Upright Forms: Heaven Knows Bad Image: Waste Away No Knock: Futureless Cycles Total Hell: Killed By Evil Class Tourists: Genocide Mexican Coke: White Pantera Program: Side By Side ### punk this week: redd kross, the drin, hot tubs time machine + 6 more URL: https://see-saw.fun/punk-this-week-redd-kross-the-drin-hot-tubs-time-machine-6-more/ Last updated: 2024-06-28T11:57:12.000Z It’s Friday, June 28, and this is [Punk This Week](https://see-saw.fun/tag/punk-this-week/). It’s see/saw’s rundown of the new punk and rock’n’roll records that are worth a listen. Redd Kross are back and way better than they have any right to be in 2024\. There’s a new full-length from Cincinnati psych enigmas the Drin. Members of the UV Race and Deaf Wish have a band called Hot Tubs Time Machine. Bad Image, Electric Prawns 2, Lucta, Gefyr, and Rat Cage also have some great stuff out. There’s some heat this week! The full post is available to paid subscribers (and [those who barter](https://see-saw.fun/bartering/) their way across the paywall). Free subscribers still have access to interviews, playlists, and other weekly posts. [Please consider a subscription](https://see-saw.fun/about/#/portal/) to help grow this reader-supported endeavor. --- **Redd Kross: *Redd Kross* \[In the Red\]** [Redd Kross by Redd Kross](https://reddkross.bandcamp.com/album/redd-kross?ref=see-saw.fun) It’s inspiring to hear Redd Kross making some of their best work this late into their tenure. The band’s new double album delivers the ‘60s garage rock vibe at a high level, in part because the McDonald brothers understand that this shit should be fun. “Stunt Queen” has harmonies and “ba-ba-ba” vocals, but it also has a fuzz-slathered guitar solo that decimates. It’s vintage power pop constructed immaculately and then recorded beautifully by Josh Klinghoffer. Between its moments of jammy psychedelia, playfulness, and consistent earworm songcraft, there are highlights on highlights. It’d be easy to say “they’ve still got it,” but honestly, they’ve topped some of their first wave albums with this one. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/06/ITR400_ReddKross_SelfTitled2024_CoverArt.jpg) _This post is for paying subscribers only._ ### the cincinnati punk scene open forum at feel it record shop was beautiful URL: https://see-saw.fun/the-cincinnati-punk-scene-open-forum-at-feel-it-record-shop-was-beautiful/ Last updated: 2024-06-25T12:24:21.000Z Vacation, Choncy, Corker, the Drin, Beef, Crime of Passing, and Motorbike are all very good bands from Cincinnati, and they all put out music on [Feel It Records](https://www.feelitrecordshop.com/?ref=see-saw.fun). This pile of releases started prompting multiple distinct conversations between my not-Ohioan friends and I—that Cincinnati’s scene is crushing right now. Earlier this year, Sam Richardson’s label opened its local headquarters: Feel It Record Shop on Ludlow. It shares space with his partner Kat McKenzie’s very fun vintage spot Have Mercy. In its early goings it is replete with incredible finds, both on the “holy fuck” rarities tip and its solid gold selection of $3 records. see/saw and Feel It put together a Cincinnati punk community open forum, a chance for punks from different backgrounds and eras to discuss making things, supporting each other, and generally speaking, the overall vibe in Cincinnati’s scene. A few of us gathered on the stage where Cruelster and Piss Me Off played three nights before. There were no microphones, and the attending crowd sat on the floor near the stage. It was an intimate conversation and a very good vibe. Honestly, it was an entire weekend of being welcomed in by the scene. Sam was kind enough to crack beers with me and DJ from his personal collection of 45s. Will Popiel of Kaleidoscopic Records met me for lunch and slid me a copy of the new Pretty Mean record. (We bumped into Cole from Corker at the lunch spot.) Kevers helped me beat the heat by letting me hang out while he mixed some in-process albums at the old Checkered Flag Studio; the new one he’s building with Vacation’s Jerry Westerkamp is under construction. Maybe the best part of the talk was at the very end where everyone sitting on the ground started shouting out their projects. There were members of Girl Gordon, Choncy, Artificial Go, and Touchdown Jesus. Everybody was extremely cool, though Nick Maurer’s band the Grocers does something no other band is doing: “We kind of just fuck around. We have jump rope competitions at our shows.” Cincinnati rules. *\[The talk has been edited for length.\]* ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/06/Cinci-Punk-Forum-42.jpg) L-R: Evan Minsker, Shannon Wilson, Takoda Hortenberry, Will Popiel, Jerry Westerkamp, Sam Richardson. Photo by Mayson Rainwater. **So let’s go around and make introductions.** Sam Richardson: Hi everyone, I’m Sam. I own the shop and do Feel It Records. I play guitar in Beef with a lot of y’all. I’m glad everybody came out. I’ve released a lot of bands from Cincinnati since moving here, and there’s lots more to come. Jerry Westerkamp: I'm Jerome Westerkamp—Jerry. I play in Vacation and Motorbike. I also record bands. I have a studio called the Checkered Flag that I’m currently building from scratch. Hopefully it’s done within the year. Will Popiel: I’m Will Popiel. I work here at Feel It on the weekends. I play guitar in General Baxter, bass in Chameleon Earhart, and I run a D.I.Y. label called Kaleidoscopic Records. I’ve been doing that for about two years now. But we're still getting going. Takoda Hortenberry: I'm Takoda. I just play in Beef and, you know, do dad stuff mostly right now. **Happy Father’s Day.** Shannon Wilson: I'm Shannon Wilson. I played for a long time as a singer in a band called the Messengers. An older—I can't believe it—but an older Cincinnati band. My new project is called Bandages and I'm the singer in that as well. Jodi Henges: I’m Jodi, I sing for Butchers Dog. I’ve played in a couple bands over the years and I host shows with my roommates at the Nest. And yeah, general fuckery with the sewer fucks. **I’m Evan Minsker, I have a newsletter called see/saw. I want to talk about local hubs. Let’s start with Jerry; you have a studio. How does it feel to have people come to you with their ideas?** Jerry: I feel like I love doing what I do because I can be in everybody’s band and help them out with what their vision or goal is to do. I feel like it’s kind of been a hub over the years as people making stuff and coming to hang out or whatever the necessary thing is. **What are the other hubs where people here gather? Jodi, you mentioned that you have a space.** Jodi: We host shows at the Nest. We’ve done that and have been there for almost 10 years now. We always said if we make it to 10 years we’ll have an awesome self-congratulatory celebration. Before that we booked shows at Last House on the Left, and before that at Shitler. I feel like we have a small bubble, but then I realize that there are people from all over because I feel like the music community isn’t divided, it’s just that everybody lives in a certain area and has a schedule. At the house, it’s awesome because it’s all ages. It’s not centered around a bar atmosphere, although we have drinks and stuff. We’ve been lucky. People gather at our house, and Design Collective is a great spot. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/06/Cinci-Punk-Forum-31.jpg) L-R: Takoda Hortenberry, Will Popiel, Jerry Westerkamp, Sam Richardson. Photo by Mayson Rainwater. **One thing about the Cincinnati scene is that it feels like no two bands are making the same kind of music. Is that inspiring, looking around and seeing people in the same community making completely different kinds of records?** Will: I think so. I think there's a lot of internal influence in Cincinnati. People are listening to and getting inspired by each other's bands a lot more. I mean, of course inspired by surrounding cities and other bands too. It keeps things cohesive but everyone's still doing their own thing, too. **Is anybody else inspired by other Cincinnati bands?** Jerry: Oh, 100%, yeah. We're a smaller city in the grand scheme and a lot of us like you know…incestuous might be a term but yes, we're always making new stuff with the same people. **Sam, you moved here in early 2022, that seems remarkably recent for how much great Cincinnati music Feel It has put out. How familiar were you with the scene before then?** Sam: My first real connection with it was when Dakota sent me the Crime of Passing album. I didn't know him at all. I just got an email one day and, you know, heard it and wanted to catch up with him. We had a call and then made plans to come out here. It all just fell into place like, I felt really welcomed. **So from hearing that album, it just ballooned from there?** Sam: Yeah, and just being around town. I met Jerry really early on, saw the studio and heard what was coming out of there, just made a lot of connections fairly quickly. I was coming from a city that was kind of a little more insulated as far as hardcore and metal being their own thing. I was a part of that world too, but had other interests. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/06/Cinci-Punk-Forum-36.jpg) Jodi Henges and Shannon Wilson. Photo by Mayson Rainwater. **Do you feel like the punk scene here can be insulated? Like are the punk and hardcore scenes distinct?** Shannon: I would love to talk about that. When the Messengers were a band in the early 2000s, it was very categorized. You know, you have friends across all genres of punk, but it definitely was much more in its box. And then I left for 13 years and moved back to Cincinnati, and I remember going to Iron Fest in 2021, maybe. And I was just like, what happened? Because it was like there is every genre of punk rock here. There's non-punk rock, there's folk, and you look at people that have been in the scene forever, like Mike Oberst, if you're familiar with the Tillers, doing really folky stuff, and then you have the Newport Secret Six doing ska stuff, but all of them have roots within traditional punk rock. And it was just like, I was like, holy shit, this is my city. I was so overwhelmed by how much there was now, and just that it crossed every genre, and there was just no judgment whatsoever. Everybody just seemed way more cohesive and friendly—like the scene had evolved so much. Insane. I couldn’t believe it. Jodi: It really was a 180 from back then. There was this club and that club. In the early 2000s, it was very gatekept. And I mean, I'm from Norwood, so people were really on that. They were like, “What are you doin’ here buddy?” It's cool, because everything is very interconnected now. We book multi-genre shows constantly. It's never just like a hardcore show, or this or that. It is very incestuous. There are these key members that crank out some of the best stuff. I rarely even listen to anything that isn't local for the most part, because there's just so much to choose from. **Sam you mentioned how welcoming people were here. I want to second that, how welcoming this scene has been just in a couple days since I got here. So uh…are there assholes in the scene? You don’t have to name names, but you could.** Jodi: Those are the people that usually stick together. They don't really come around. People who are just there to party are kind of relics from a different time. I don’t mean that in a disparaging way. In my experience at the Nest, when people who would typically be total shit-starters at a show somewhere else, they come to the house and they're outnumbered by people who are just trying to chill. They're just hanging out. So they stand out so much, people you can tell have never had the opportunity to be comfortable in their scene because they're too busy trying to fit a mold that they think they have to fit. That is not gone, but it is not popular around here, and I think that's amazing because it wasn't that way when I was young. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/06/Cinci-Punk-Forum-48.jpg) Local punks sitting on the floor at Feel It Record Shop. Photo by Mayson Rainwater. **Can we go around? I want everyone to name one Cincinnati band or record you think everyone should know about. You can self-promote if you want.** Takoda: It’s just fresh on my mind, it’s [Willie & the Cigs](https://willieandthecigs.bandcamp.com/album/loaded-with-hits-2?ref=see-saw.fun), the red tape. It's always in my tape deck. Honestly, I don't know much about it because I bought the tape when I saw them live once. I'm still new in the city, I'm always doing dad stuff. I’m not at shows so much. Will: I'd say this band called Spooky Dreamland. The album would be [*Blackhole*](https://spookydreamland.bandcamp.com/album/blackhole?ref=see-saw.fun). They're not a super active band anymore. I think they last played maybe a year ago. It was their only show of the year. But they were the band that really got me into the scene in Cincinnati. They were throwing a lot of great house shows in Clifton Heights around when I was in college and doing the same thing that we're talking about here, bringing together a lot of different DIY punk parts of the community that cover a lot of different sounds into the same space. But the album is pretty unique, you couldn't quite call it shoegaze because it's sludgy, it's psyche, it's kind of heavy. I don't think they've had enough love around here, so check that out. Jerry: I guess I would have to say the [Good Looking Son LP](https://goodlookingson.bandcamp.com/album/confirmed-bachelor?ref=see-saw.fun). It's Keith of the Cowboys, he did a solo thing. It’s very Sparks. Sam: He didn’t do anything to promote it. That band never played live. Jerry: I also recorded it. It was the most fun I’ve ever had making a record, so that’s a go-to for me. Sam: I had to think really carefully about not self-promoting. I'm gonna go deeper. The [*We Were Living in Cincinnati*](https://hozacrecords.bandcamp.com/album/we-were-living-in-cincinnati?ref=see-saw.fun) comp that Hozac put out a few years ago. I didn't know anything about Cincinnati; I knew Afghan Whigs and some more surface level stuff, but that encouraged me to take a deeper dig. John Hoffman did some production work on that. It’s kind of a good mashup of what was going on back then. Jodi: I’m a nerd, I love [Vacation](https://vacation.bandcamp.com/?ref=see-saw.fun). That’s my favorite Cincinnati band. Pretty much anything that you and John put out. *Non-Person* is my favorite. I like Beef a lot. I like Motorbike. I like all that stuff. Was it Choncy that put out a new thing? I listened to that—a couple songs I really liked, too. Shannon: I’m going to age myself—my favorite Cincinnati band of all time is [Spodie](https://www.youtube.com/watch?v=uqgt7MSHYNo&ref=see-saw.fun). When I was young, that was the band. They’re just the best snotty pop punk, just so fucking good. Amazing. Jodi: I was super inspired by [Bloody Discharge](https://vimeo.com/2932918?ref=see-saw.fun). I’ve always wanted to cover their songs. Shannon: Yeah, Bloody Discharge was amazing. All-female Cincinnati band. **I feel like Cleveland and Columbus have these storied punk scenes—do you have this sense of them as musical sister cities to Cincinnati?** Jodi: Cleveland's, like, my second home. The music is like aggro Cincinnati. I mean, I love Cleveland and Columbus. Columbus is popping off right now. Those kids are going crazy. It's awesome. This lesson I should have learned forever ago, but when we play at Dirty Dungarees, I love it. Everybody's going crazy, right? But they are so smart. These kids wait till the end of the show to buy their merch so they don't have to carry it around. I remember being so impressed by that. I was like, damn. But yeah I think that there's a lot of affiliation, at least between myself and the band that I've been in and our closest friends have played in. Shannon: We’re trying to hashtag it, but don’t discredit #Daytonnati. Dayton has a ton of stuff going on. Really good bands coming out of Dayton as well. And talk about incestuous, our group’s drummer plays in, like, five bands. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/06/Cinci-Punk-Forum-28.jpg) L-R: Shannon Wilson, Takoda Hortenberry, Jerry Westerkamp, Sam Richardson. Photo by Mayson Rainwater. **What prompts you to make things? It’s not a region-specific question, we’re just in a room full of people who create things.** Takoda: I think about that on a constant basis because I don’t really know why it feels needed, like why I constantly want to build my life around it. But it’s the only thing that ever feels right, you know? I feel like everybody feels that way here, that’s why we’re here. But yeah, I wish I did know because then I could maybe bottle it and figure it out—like have a more organized effort to it. I know that I know that I want to do it. That’s it. Will: I think there's a lot of things rolled into it, but to put it really simply, like, fun. It's fun. And being an adult is boring and sucks. Why not have fun and do stuff you like doing? Jerry: I have a problem where if I’m not constantly doing something or working on something, I just go crazy, so yeah, I like to bust my ass either at my job at work or building something for a future, but then to get to rock is the bonus. That’s blowing off steam. Jodi: For me, personally, it's cathartic. You get to see that instant gratification. You get to make something and then look at it and show it to people, and other people are like, that's sick. I wanna do that, too. And that's kind of a catching feeling, you know what I mean? So, yeah. Music first, life second. Shannon: Bandages was born out of a divorce, so when you can’t say the thing that you need to say, it’s a lot easier to scream them in front of a lot of guitars and drums. But I was gonna say, too, like, I'm sure like everybody in the creative realm, like, you see your friends' bands play and you're watching and you're like, oh man, this song would be next level if they did this on the guitar, if the singer did that. And it's when I wasn't playing, I found myself doing that so much that I'm like, oh my god, I'm missing this outlet in my life to do my own thing and create my own way. I'm sure with recording, there’s probably tons of that. **Y’all this has been fun as shit. Thank you for coming out, Happy Father’s Day.** ### punk this week: autobahns’ exceptional debut album + 8 more URL: https://see-saw.fun/punk-this-week-autobahns-exceptional-debut-album-8-more/ Last updated: 2024-06-21T13:22:01.000Z It’s Friday, June 21, and this is Punk This Week. It’s see/saw’s rundown of the new punk records that are worth a listen. This time let’s talk about the exciting debut album from Autobahns, a lo-fi tape out on Goodbye Boozy, the latest collage rock goodness from the Sheaves, plus some great new ones out of Cincinnati, Italy, Sydney, and Pittsburgh. The full post is available to paid subscribers (and [those who barter](https://see-saw.fun/bartering/) their way across the paywall). Free subscribers still have access to interviews, playlists, and other weekly posts. [Please consider a subscription](https://see-saw.fun/about/#/portal/) to help grow this reader-supported endeavor. --- **Autobahns: *First LP!* \[Feral Kid/Legless/Phantom/Magüt\]** [FIRST LP! by Autobahns](https://autobahns.bandcamp.com/album/first-lp?ref=see-saw.fun) You may not know Giuliano Iannarella, the Germany and Switzerland-based punk rocker, but the debut Autobahns album First LP! makes a strong case that he deserves a seat alongside fellow rippers-to-watch Gee Tee, Alien Nosejob, and Sick Thoughts. It’s not easy to designate exactly where this lives in the realms of egg, chain, and skate punk—it’s a journey across all those vibes. There’s a track here called “Ciapa Male,” and it’s just choppy and relentless rock’n’roll that could burn for a full hour without getting old. It’s the kind of debut with so much power, so many major songs, and so many different vibes packed into one album, it feels like a star turn for Iannarella. Synths attempt to simmer things down near the end, but it’s useless: First LP! burns hot. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/06/a3595739055_10.jpg) _This post is for paying subscribers only._ ### shogun on royal headache, antenna, and a completely fucked music industry URL: https://see-saw.fun/shogun-on-royal-headache-antenna-and-a-completely-fucked-music-industry/ Last updated: 2024-06-18T13:19:51.000Z Royal Headache is no more, and I wouldn’t hold out hope for that band to come back. “I’m not a Royal Headache nostalgist,” says Shogun on a video chat from Sydney. “I think the band needed to end when it ended. I'm glad we didn't do a terrible third record where I was trying to be introspective and trying to do some kind of Stone Roses worship.” It’s not like he’s turned his back on those days entirely; he lights up talking about a wild frat party night in Madison with Royal Headache. Those dudes partied pretty fucking hard back when, but I’ll leave those stories for the members’ future dishy memoirs. On Friday, two of the band’s live performances are coming out on [*Live in America*](https://royalheadache.bandcamp.com/album/live-in-america?ref=see-saw.fun), which What’s Your Rupture? is releasing. The A-side is the band performing on Terre T’s WFMU show *Cherry Blossom Clinic* in 2012, a set featuring many of the songs from their first album as well as a live debut of “High.” The other side is three years later at Chicago’s Empty Bottle, a tour behind their second album. When approached with this idea, Shogun was reluctant about putting out another Royal Headache record. “Then I heard the recording of the album and I thought why not?” In the time since Royal Headache disbanded, Shogun has stayed busy, most recently with the bands Finnogun’s Wake and Antenna. The Antenna record that came out earlier this year must be heard; it features some of Shogun’s best vocal performances ever (which is saying a lot). Antenna’s tour schedule is picking up, though he’s not concerned about shit becoming unmanageable. “The landscape now, it's so different,” he said. “I could go and write a record as good as a Stiff Little Fingers record and I don’t think it would make a jot of a difference. Music has been demonetized. We all have to work full time.” “I think music is mostly just soft porn or photos of young people for old guys to fap to, you know? Like, the game is fucked. I could go and write fucking ‘Twist and Shout’ and I don't think I would get more than $15\. The game is completely jacked,” he said. “So I'm doing it because I like it, you know?” [Live In America by Royal Headache](https://royalheadache.bandcamp.com/album/live-in-america?ref=see-saw.fun) **You mentioned you’re not a nostalgist, but going back and hearing these recordings, how did that make you feel?** I mean there’s a lot to say. The two sides of the record, the radio show and the Empty Bottle show, almost demonstrate the band at opposite ends of our trajectory. There’s this sort of bright-eyed and bushy-tailed incarnation of the band on the *Cherry Blossom Clinic* side of the record. You can hear the band becoming darker, maybe my temperament becoming more bitter and alcoholic on the second side. We became faster, heavier, uglier, but also tighter. The two recordings capture the evolution or devolution of that particular band. Like the first side, I feel like we're kind of innocent and nervous. And the second side is just where we feel like we've been on tour forever. And we're just smashing it out. But yeah, I like the record. And it's good to have mementos because in all bleak honesty, there's a lot about Royal Headache I don't remember because it was just a hard drinking band for me. There was no other way to do it. And you know, people would be like, “Oh, you should stop drinking.” And I'll be like, look at one of our shows—could you do that without drinking? And they're like, “No.” So it's like, well, shut the fuck up then. Could you actually do that sober? You know, spill your guts like that? No. Maybe that's one of the other reasons it really had to end. There was something about Royal Headache that was so intense. It was unsustainable, I think. **You talk about spilling your guts, but is it also the level to which you had to perform those songs that made it unsustainable?** Yeah, I think so. You know, Antenna is similar, but I was in a really dark place back then. And I definitely had this highly idealistic, almost quasi-religious approach to the spirit of punk music needing to be completely authentic at all costs. And I think our entire crew back then had this really antiquated idealism and total commitment. I don't think it would fly at all today in today's business model, for want of a better word. Maybe it's coming from the skater and hardcore kid background and a bit of a lad background back in the ’90s, like where it's all about just getting fucked up and blowing it and making a scene, like being completely distasteful and ridiculous. My point is, I really had the idea that if you weren't totally fucking up, you weren't doing punk properly. Maybe that was one of the reasons Royal Headache crumbled, you know, when it became too successful and was just sort of chugging along, I was like, something's not right here. It's not complete until it's totally fucked up. **When you say totally fucked up, do you mean you guys partying too hard or the band just imploding?** Oh, just running my mouth on stage. The recordings of Royal Headache were quite palatable and listenable. There's that Beatles-y aspect. But the live shows definitely just became, especially towards the end, increasingly dark and drunk. I think maybe I felt a degree of guilt that the band had attained like a small degree of success and it just seemed like the right thing to derail that. **How are you doing now?** Yeah, good, good. Just old and busy. I'm doing two bands. I just practiced with one of them last night, with Finnogun’s Wake. We're playing my girlfriend's 30th birthday on Saturday night. I'm pretty good. Yeah, Royal Headache was a long time ago. Fuck. I mean, the heyday of Royal Headache was like 15 years ago. But a decade ago, it was just sort of petering out. This is a long time ago. This is pre-COVID. It's a generation ago, in terms of how fast generations creep up on us. I'm 43 now. I can't behave like that anymore. Rent's too expensive. You need to be a normie now. I have no choice. I had a choice then. I was paying cheap rent. You can work a couple of shifts a week at a shitty job where you can show up drunk and high, and I did pretty much all the time towards the end. I'm surprised I wasn't fired. So those days are gone. I have no choice but to man up, you know? **So you feel like you’re not in the same hard-drinking part of your life?** I still drink, but I just know my limits. I think back then it was about testing limits, and I think now it's about observing them. I've tested them and I've learned what I needed to know. Testing the limits of oblivion. I think that is just a quest of self-knowledge and I’ve taken that quest more than enough times. **I did a Royal Headache interview a dozen years ago and it wasn’t with you. Any reason why that would’ve been?** Yeah, I went through a period of interview fatigue. I think for a little while I was like, look, could someone else take a few of these? Because I also have the propensity to, uh, overshare in interviews. It's almost like I lack the imagination to lie and the guile to press train myself. Actually, here's a story. There was one night I was going through all this fucked up shit. My best friend had just died and I went through a bad break up immediately afterwards. Essentially I was losing the two most important people in my life at the same time, like things were just bad, bad, bad, bad. And Royal Headache, we're at our peak. I did an interview on the phone on the way home from some party blackout drunk. I get this phone call, I've forgotten that I have to do an interview for Primavera with this big publication in Spain. I have no idea whether that interview surfaced, it was a phone interview and I was yelling at the guy, and I was crying, and I was ranting at this dude like he was my best friend, and I was just letting it all out. I have that much recollection of it, but very little. And I woke up in the morning with this text message on my phone saying, “Man, I'm so happy that you shared all this with me. Thank you for an amazing interview.” And I was like, fuck, what have I done now? **So that's probably why you didn't talk to me.** Mercifully, it never surfaced. Neither did my interview with the Pixies when *Vice* had the bright idea of thinking that Shogun from Royal Headache should interview the Pixies at the Opera House. The interview was at about 11 a.m. or some godforsaken hour and I showed up drunk and stinking of weed and the Pixies…as people know, the Pixies are a little bit aloof, you know what I mean? And Frank Black *hated* me. It was like, *I am Frank Black from the Pixies. I've come here at 11 a.m., why is there a drunk, stoned lad—an actual scumbag—sitting where the interviewer should be. Who the fuck let this guy in here?* And again, never, the interview never surfaced. It was canned, but there could be footage of it somewhere. [Antenna by Antenna](https://antennnnna.bandcamp.com/album/antenna-2?ref=see-saw.fun) **The song “Lost” by Antenna is just unbelievable. What does it mean to you?** I think “Lost” was about a breakup that I had many years ago, during the time of Royal Headache. People cleave together for a variety of reasons. I think people with emotional or mental issues can take breakups really badly. People who are on top of their shit, everyone will hurt, but some people will handle it. But I went through a breakup that, because of the context and a few details, was an obliterating breakup. It took me years to recover from it. Looking back, I can see that it was about the relationship, but it was also about what I was hiding behind that relationship, which was an identity that was unstable and incomplete. It's about a breakup that it takes you years to recover from. I must have been truly lonely. I think, sadly, the mentally ill have a compulsive need to love and be loved, but the irony is that they're so unlovable and impossible. I think that's the gist of it. **It’s such a powerful song. And your voice on it, too, is just unreal. When you deliver a performance like that, do you know you’ve made something deeply impactful?** No, actually. You never know until you're mixing it. My voice is pretty hard to mix because I'm singing, but I'm kind of screaming as well. It can take me a long time working with a producer to get my vocal sound. Funnily enough, my voice unmixed can often sound really awful, like really embarrassing. You can hear all the polyps and nodes in my throat, so I have to work with a producer. And I've produced a couple of records, but it didn't really get my vocal sound, and it's not good. So it takes time. There's just a degree of constant anxiety of “will this work,” and you actually don't know until the very end. I work really, really hard on everything I do. And I labor it endlessly. I mean melodies, I work and rework and workshop all day. A song will take me days and days of thinking about, because I don't want to think about my life. I don't want to think about the state of the world. So, you know, music is a really good way to just avoid thinking about anything and become completely obsessed with these tiny two and a half minute universes. Because they're perfect. You can make that two and a half minutes perfect. You can't make your life perfect. Civilization is irredeemably doomed. No one is going to fix that. I'm just going to concentrate on my little gardens. **You’re saying you’re willing to drive yourself into the ground because the work is worth it?** Yeah, I'm a chronic insomniac. I'm at a point where I can not sleep for like three days and I develop like a speech impediment and I'm actually really liking the feeling of being completely fucking rammed. I have something to do every day, every weekend I have a gig or two, you know, constant band practices. I'm letting the music crush me. You know the old saying, find what you love and let it kill you? I think that's what I'm doing at the moment. I'm going into music hard out again to the point where it's mutating me. It's changing my psychology the way iPhones change human psychology. It's making me accountable. It's making me visible. It's taking me back into my Royal Headache state of mind. It's making me want to be a better person because people are listening to what I'm doing. Being an entertainer makes sense to me. I need to be visible because I often feel invisible, lonely, and lost. You know, I put myself in front of people so that I can appear to myself. **When you talk about feeling like a troubled person, it’s evident how much you're putting that into music. Does it feel like catharsis?** Absolutely. All the great punk music and rock’n’roll comes from these people. I think it's necessary, which doesn't really reflect well on rock’n’roll. It's not a healthy lifestyle. It's a forum where people celebrate their flaws rather than trying to overcome or rectify them. Obviously I'll try, but I could certainly be accused of that. Without sounding like that old guy, the problem with music today is that there's a sort of surveillance culture—a sort of moral cleanliness. There's a business-like sense of perfection to it all, and no one is willing to be that guy anymore, I think because of the age of social media. Everybody is watching. It's not just like the punk scene. Your boss will probably see that shit. Your family will probably see that shit. So even if you're doing this outrageous punk band, there's a modicum of normalcy to it all. No one is willing to literally share or sacrifice anything. I'm happy to be that guy. I've been that guy forever and ever and ever, and I'm not going to front or hide who I am. If anything, it will become more extreme. Someone needs to take the bullet. And to be honest, I talk to kids these days, and it's like, “Oh, what's the deal with your band? I want to check it out.” They're like, “Yeah, we sound like this band.” They literally don't. They literally say that all like, “It's *this* worship. We're worshiping *that*.” This is insane. How the fuck do you think our heroes would feel? There's nothing punk about fucking copying something outright. That's just stamp collecting. *see/saw is a reader-supported publication. If you enjoyed this article, please consider a* [*paid subscription*](https://see-saw.fun/about/#/portal/) *or grabbing some* [*merch*](https://see-saw.fun/merch/) *to support this independent punk journalism operation.* ### punk this week: prison affair, snooper, fan club (fka lysol) + 7 more URL: https://see-saw.fun/punk-this-week-prison-affair-snooper-fan-club-fka-lysol-7-more/ Last updated: 2024-06-14T11:52:18.000Z It’s Friday, June 14, and this is Punk This Week. It’s see/saw’s rundown of the new punk records that are worth a listen. It’s a big week, with a split from two powerhouses in Snōōper and Prison Affair, the debut outing from Fan Club under a name that isn’t Lysol, some exceptional hardcore from NYC’s No Knock, and a lot more. The full post is available to paid subscribers (and [those who barter](https://see-saw.fun/bartering/) their way across the paywall). Free subscribers still have access to interviews, playlists, and other weekly posts. [Please consider a subscription](https://see-saw.fun/about/#/portal/) to help grow this reader-supported endeavor. --- **Snōōper / Prison Affair: *Split* \[Under the Gun/Static Shock/Big Love\]** [Split by Snooper / Prison Affair](https://staticshockrecords.bandcamp.com/album/split?ref=see-saw.fun) This is a powerful, near-combustible pairing: two bands whose individual moves merit a close watch together here on the same platter. What’s surprising about the Snōōper and Prison Affair split is that for two egg punk institutions, there’s an awful lot of heft, fuzz, and aggression being swung around here. “Company Car” stands with “Running” and “Pod” as a standout Snōōper track. Shout out Prison Affair’s ability to pair squiggly freakouts and earworms, all while keeping the aforementioned burl in place. It’s [split season](https://see-saw.fun/punk-this-week-cut-piece-judy-and-the-jerks-pardoner-5-more/), baby. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/06/a3605585728_10.jpg) _This post is for paying subscribers only._ ### you should read rate of decay, the great $2 toronto punk zine URL: https://see-saw.fun/you-should-read-rate-of-decay-the-great-2-toronto-punk-zine/ Last updated: 2024-06-12T12:24:07.000Z Chris Landry made it pretty easy to find [*Rate of Decay*](https://rateofdecay.bigcartel.com/?fbclid=PAZXh0bgNhZW0CMTEAAabEODnmOCxYYQX-ruLxZD2-84XySjAh-mvElU1Qbwvozd3-GJgPjX8kLQE%5Faem%5FAdljGIO0UiSx65ThGa0qsLaTCqhr-AgkUP5WUiHoyb0imVvp400Pdqq4aL0S7xwEuYvtsBXWC3ub1BMsO2dgbwVz&ref=see-saw.fun); he interviewed Tyvek—the see/saw bat signal. The Toronto punk enthusiast teaches in the library technician program at a polytechnic, but more importantly, he’s been making zines since the ’90s. Each issue is 16 quarter-size pages with conversational reviews and brief artist interviews. It’s a photocopier-via-Google Docs aesthetic, and each issue is a steal at two dollars a pop. Chris had been burned out from zine life since his last one quietly folded around 2015\. “I didn’t think I’d ever do one again,” he said. Reinvigorated by punk music, he debated whether it was a blog, a newsletter, how to make it cost effective and still look good. Most importantly, it had to be a manageable project. “I didn’t want to get too involved because it’s something I’m doing on the side in my spare time.” He decided to do a zine, which required strict parameters to keep it from becoming too ambitious. The rules included the page count, keep the scope “relatively underground,” and a specific vision for the publication’s voice. For reviews, Chris said it had to be “something where in my real life I might bother someone like *oh you gotta hear this band*.” He doesn’t abuse his school’s photocopier privileges, noting that the good people at Toronto’s Printorium cut his pages down for him. “At work, they have a sense that I'm involved in zines, but I try to be low key about it,” he said. “I like a break between my subculture life and work life.” The “manageable” nature of the project has started to become more unwieldy. The first issue was 90% designed in Google Docs, but the layouts have steadily become more elaborate. “What's happening is each issue I'm ruining my life more and more, spending more time on the layout and getting more tortured about it,” Chris said. “It used to take me a year to do a zine—it would be 70 pages and really labored over. It'd all be typewritten or handwritten and letterset.” ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/06/IMG_1560-1.jpeg) *Rate of Decay* arrives after Chris’ band [Zero Bars put out a demo](https://zerobars.bandcamp.com/album/demo-2023?ref=see-saw.fun) in late 2023\. “I was just surprised at how few punk zines I could get reviewed in,” he said. “And anything, you know, I was looking for newsletters. I was looking for everything.” After putting out *Rate of Decay*, Chris has found so much more in the world of punk media. But the act of making a zine, he says, partially relates to his work as a librarian. “I had too many worries about how music writing from the ’00s is not very well archived, like a lot of it might be considered lost,” he said. During our chat, I asked Chris about the idea of punk rock sister cities in Canada, thinking about how in the U.S. there are cities that seem to bolster each other like Detroit and Cleveland or Memphis and New Orleans. He answered on the phone by saying he maybe wasn’t aware of any such connections. A few days later, I received some additional zines in the mail with a handwritten note offering a longer answer to my question. I’m keeping it out of this piece as correspondence just for me; I mention it to show how thoughtful and cool of a dude this is. The future of *Rate of Decay* has one certainty: he’s doing 12, one a month across the entirety of 2024\. After that, who knows. “And then I don't know if I can pawn it off on someone or if I can get a book out of all of them or if I could just pretend it never happened. We'll see.” What’s for sure is that *Rate of Decay* always makes for a good mail day. [Demo 2023 by Zero Bars](https://zerobars.bandcamp.com/album/demo-2023?ref=see-saw.fun) ### clare o’kane on buzzcocks, the damned, and james carville URL: https://see-saw.fun/clare-okane-on-buzzcocks-the-damned-and-james-carville/ Last updated: 2024-12-05T16:13:14.000Z *“Record Exchange” is a series of conversations between see/saw’s Evan Minsker and a fellow punk enthusiast. Each person brings two songs to discuss. The latest installment is a chat with stand-up comedian Clare O’Kane.* [*Please consider subscribing*](https://see-saw.fun/about/#/portal/) *to this reader-supported newsletter!* In 2018, Clare O’Kane got her public-facing punk rock bonafides when she was asked to open for Jawbreaker on their reunion tour. She knew drummer Adam Pfahler as a supporter of the Bay Area stand-up scene, but the band itself? “I had no concept of Jawbreaker when I opened for them,” she said. “I was very familiar with the Jawbreaker fanbase, though. I dated people who were that kind of guy. I could draw a Jawbreaker fan from memory.” She presents the following caricature: tattoos only in black ink, a beard (“or at least the idea of a beard”), bitterness, not afraid to yell, not afraid to cry. Clare’s new album *Everything I Know How to Do* was just released in May, a stand-up special follow-up to 2018’s *Let It Be*. In it, she discusses a failed *SNL* sketch pitch about She-Hulk visiting the gynecologist (and then, at the end of the album, presents it as a classic comedy album audio sketch). She also talks about her open marriage polycule, pansexuality, and internet weirdos who come out of the woodwork to talk about how she looks in an Amazon pilot that got passed over for *Mrs. Maisel*. [Everything I Know How To Do by Clare O'Kane](https://clareokane.bandcamp.com/album/everything-i-know-how-to-do?ref=see-saw.fun) There’s another gem on the album: “Ragin’ Cajun: A Sincere Song About James Carville.” O’Kane has been writing and performing sincere, not-comedic songs since high school, inspired by anti-folk icons like the Moldy Peaches. “I like keeping the comedy and the sincerity separate,” she says. It’s a romantic, lovely song about Carville, inspired by his real-life relationship with a Republican strategist. “I just thought god, they must have crazy sex,” she said. A full album of songs in this vein—sincere songs, not specifically all about Carville—is being planned. **Clare’s pick: The Buzzcocks’ “What Do I Get?”** The older I get, the less inclined I am to listen to punk music. The music I listen to has turned from angry to melancholy, and I think that's kind of how my life has gone as well—or my personality has changed. When I was little, like 9 or 10, I was into Blink-182 and Sum-41, all that stuff. Then you find out about the Ramones, the Sex Pistols, and the Clash. From there it was more indie stuff, and then in college I got into bands like Crass and the Wipers. But I was listening to Buzzcocks and the Damned in high school. Actually I found out about the Buzzcocks from that movie *Ghost World*, I think maybe when I was 11 or 12\. All the punk I've ever really listened to ends up being kind of melodic. Very rarely is it like \[*wordless hardcore yammering*\]. Even Minor Threat, to me, is like you could kind of tap your toes. But yeah after that [scene in *Ghost World*](https://www.youtube.com/watch?v=lJZk5z0tdl0&ref=see-saw.fun), I looked up Buzzcocks on LimeWire and downloaded everything. ***This music video is amazing.*** This is the kind of punk person I relate to the most—these guys who are seemingly normal looking. They're not actively wearing studs and they're not all pierced up. Their idea of punk is dressing nice as a goof or something—wearing a tie but rocking out. I love that. **see/saw’s pick: Bush Tetras’ “Too Many Creeps”** You know, I never really have listened to Bush Tetras. I know that I should listen more because I liked this song a lot. There definitely are too many creeps. Somebody’s gotta sing about it. I think in the music world, there’s a specific kind of music creep, show creep—especially for female musicians, it’s a similar thing that female comedians get. These guys who are creepy but also at the same time very much like, “You’re actually not using that pickup correctly.” Always correcting you or giving you tips when they’re not asked for. **Clare’s pick: The Damned’s “Melody Lee”** This one’s on *Machine Gun Etiquette*, the album after *Damned Damned Damned*. I really connected with the singing, same with the Buzzcocks, that English lilt. I find that I really love this area of English punk and post-punk, and bands like Television Personalities and the Vaselines. From the ’70s to the 2000s, whatever’s going on over there, I’m into it. And I like the way this song starts with a piano and then it really softly hits you in the face. **see/saw’s pick: Dangüs Tarküs’ cover of Sparks’ “Sherlock Holmes”** I’m a Sparks fan very tangentially. That’s one of the songs I knew. This cover really feels like Chicago in 2017—that garage punk revisited. I like that song. It reminds me of that band the Gizmos. I saw that Sparks movie. Too long. It’s cool that they put Jake Fogelnest in there, but otherwise, it’s just like: let these guys talk. ### punk this week: program, shop regulars + 3 more URL: https://see-saw.fun/punk-this-week-program-shop-regulars-3-more/ Last updated: 2024-06-07T12:38:52.000Z It’s Friday, June 7, and this is Punk This Week. It’s see/saw’s rundown of the new punk records that are worth a listen. This week features the new album from Program, Shop Regulars, Rearranged Face, and more. The full post is available to paid subscribers (and [those who barter](https://see-saw.fun/bartering/) their way across the paywall). Free subscribers still have access to interviews, playlists, and other weekly posts. [Please consider a subscription](https://see-saw.fun/about/#/portal/) to help grow this reader-supported endeavor. --- **Program: *It’s a Sign* \[Anti Fade\]** [It's a Sign by Program](https://programbandmel.bandcamp.com/album/its-a-sign?ref=see-saw.fun) There’s a laid back vibe to *It’s a Sign* that’s easily cast as slacker rock. The vocals from Program are pocketed and casual in this way that makes the album an easy hang—a record to put on pretty much whenever the melodies could ease you into social situations. It’s an album where I find myself getting obsessed with individual decisions: the harmonies and guitar solo of “One on One,” the jangly intro and sunny hook of “Side by Side,” the album’s fantastic keys-based outro. Slacker is an easy enough word to saddle a band with when shit isn’t flashy, but making stellar music with solid hooks, great lyrics, and harmonies that pop has gotta be hard work. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/06/a0892162362_10.jpg) _This post is for paying subscribers only._ ### playlist: the best punk songs of may 2024 URL: https://see-saw.fun/playlist-the-best-punk-songs-of-may-2024/ Last updated: 2024-06-03T14:14:24.000Z In May, I spent a good amount of time in the Detroit, Minneapolis, and DC areas, and in all these places, I found myself talking to musicians. The common thread in every conversation was community—that no artist gets to where they are by themselves. 208’s Kyle and Shelby didn’t find their artistic community until they moved up to Detroit from Florida, and now they’re surrounded by support. Every conversation I’ve had with a band inevitably goes back to their buddy bands, their mentors, and the people who support and inspire them. What’s been cool about see/saw in its nascent era is that it’s the first time I’ve truly felt a sense of community between writer and reader. I’m hearing from y’all with every post, whether that’s [on Instagram](https://www.instagram.com/seesawdotfun/?ref=see-saw.fun), in direct email replies, or in the literal comment section (aka the paid tier crew). Some feedback is from old friends and mentors, but I’m also making new friends through this thing, both online and irl here in the Chippewa Valley. It’s giving me energy to keep it growing. This month has included the aforementioned [208 interview](https://see-saw.fun/208-on-turning-trauma-into-shit-fi-bangers/), where the duo discussed channeling trauma into lo-fi rock’n’roll rippers. There was also a chat with [Soup Activists’ Martin Meyer](https://see-saw.fun/soup-activists-martin-meyer-on-the-new-album-and-life-after-lumpy/) about moving forward with indie rock and leaving Lumpy and the Dumpers in the past. Cruelster elaborated on their [beefs with dudes in cars](https://see-saw.fun/cruelster-are-angry-at-almost-all-musicians-photographed-in-cars/). The inaugural installment of the Record Exchange interview series featured AEW wrestler and fictional bounty hunter [Bryan Keith](https://see-saw.fun/aews-bounty-hunter-bryan-keith-on-knocked-loose-rise-against-and-japanese-hardcore/). There was also a [playlist in tribute to Shannon & the Clams](https://see-saw.fun/playlist-see-saws-favorite-shannon-the-clams-songs/). The “[Punk This Week](https://see-saw.fun/tag/punk-this-week/)” recommendations column seems to have remained a resource in what’s new and exciting in the world of punk, garage rock, and hardcore. Each week in May included between seven and 10 blurbs for $4/month or barter. What I’ve really loved recently is hearing how many people found a new beloved record from the “what else” brief mentions at the end. Oh right, and one week I posted early by accident and then did a supplementary review of the new surprise [Yambag album](https://see-saw.fun/yambags-new-album-mindfuck-ultra-didnt-have-to-go-this-hard/) because it rules. These monthly playlist posts seem like a decent excuse to offer a state of the publication update. Here’s what’s going on: - By the end of May, see/saw reached over 700 subscribers total. For a start-up, that kind of support is honestly incredible. So much of that is thanks to word of mouth. This operation is exactly what I dreamed of with a post-C\*ndé punk writing endeavor: no billionaires, street teams, small donors, and word-of-mouth organic growth. Consider spreading the word about this thing if you like it. - People are [bartering](https://see-saw.fun/bartering/) for subscriptions! My friends who made flyers and helped with videos have paid-tier subscriptions, and so do people who put up flyers around their communities. - Check out Gem Fair’s [*Dog With a Mullet* episode about see/saw](https://open.spotify.com/episode/44FKGBV9kSi1oXjbLdni1a?si=a33THINGTsKthoSXgUsYXA&ref=see-saw.fun)! It was an extreme joy to chat with such an awesome person. - If you want to put up see/saw flyers for barter or to help support the cause, [here’s a PDF of the flyer](https://www.dropbox.com/scl/fi/q9dsee0gyaqeh4emf96ez/See-Saw-Final.pdf?rlkey=o2ex7kdb1l9zoddhzz8m5yld5&e=3&st=zpvdfgkz&dl=0&ref=see-saw.fun). - On June 16, I’m [moderating an open forum in Cincinnati](https://www.instagram.com/p/C7ed-7GO2FY/?ref=see-saw.fun) about the area’s punk community at Feel It Record Shop. It’s at 4pm and free. Some great musicians and local punk luminaries will be on hand. Later I’ll write it up for the site. Please come through if you’re nearby! - Finally, I’m [selling stickers and buttons](https://see-saw.fun/merch/) featuring Ian Teeple’s very good see/saw logo! Sales will dictate if it makes sense to do more merch because otherwise I’m just storing a bunch of these in my house. Looking ahead I’ve got some exciting pieces in the wings—Record Exchange interviews, conversations with artists, more playlists. A couple potential surprises are coming, too. For now, here’s the best punk, garage punk, and heavy music from the month. Listen below in a browser or [here](https://bndcmpr.co/4133ab06?ref=see-saw.fun). **see/saw: the best punk songs of may 2024** Power Pants: Keep Rockin’ On Gee Tee: Couch Potato Shawnis and the Shimmers: Queer Planet Virtual Combat: Rat Race Sex Mex: Pretty Boy Rouge: Repeating Game The Dogs: We Are the Dogs Cutters: Landlord Nation Nick Normal: Mixed Lettuces 1&2 Grand Final: Feel Good Axe: Gasoline Bermuda Squares: Work From Home Laxity: Mój Sen Googon: Flip 5150 Fen Fen: FM The Gobs: Gimme My Steel Reserve Vacation: Worlds in Motion Yambag: Frye vs Takayama The Ar-Kaics: Dawning Pyrex: Bozo Oh Boland: Here Comes the Order of Malta Hammer and the Tools: Dolphin Friend Monda: Stiff Jumbo 208: Desires Purgatorio: Purgatorio Cut Piece: GUGI Tommy Cossack & the Degenerators: Down on the Ground NTSC PAL: Suggestive Rex Judy and the Jerks: Rumpus D. SABLU: World Peace Bootlicker: With Reason Alienator: Buried Alive Cut Gluv: Switchblade Invertebrates: Humid Crypt Cool Guy Club: Dumb Screens Neutrals: Stop the Bypass One Trick Pony: Life Goals Positive ID: Write My Name on the Wall BLASTER: Destroy Eye Ball: Violins Spresso: Day Out Shannon and the Clams: The Vow Psychic Sports: The Vision, the Way Radar: Walk Away Ultra Lights: Nostalgia Waylon Thornton: Mono Rocket Nag: Pupil Vile Desire: Extinction Slan: Den stora alfan Total Con: My Misery NORMS: Langyos Polgárháború ### punk this week: cutters, the gobs, oh boland + 4 more URL: https://see-saw.fun/punk-this-week-cutters-the-gobs-oh-boland-4-more/ Last updated: 2024-05-31T13:08:59.000Z It’s Friday, May 31, and this is Punk This Week. It’s see/saw’s rundown of the new punk records that are worth a listen. This week features the new album from Cutters, a four-song collection from the Gobs, the latest full-length from Oh Boland, Girlsville’s Palestine benefit compilation, and more. The full post is available to paid subscribers (and [those who barter](https://see-saw.fun/bartering/) their way across the paywall). Free subscribers still have access to interviews, playlists, and other weekly posts. [Please consider a subscription](https://see-saw.fun/about/#/portal/) to help grow this reader-supported endeavor. --- **Cutters: *Psychic Injury* \[Legless/Drunken Sailor\]** [PSYCHIC INJURY by Cutters](https://cuttersmelbourne.bandcamp.com/album/psychic-injury?ref=see-saw.fun) It’s just beautiful, the vitriol Cutters from Melbourne have for landlords and failed politicians (come to think of it, probably some crossover there). The foaming-at-the-mouth screams of the singer credited here as Savage Garbage (mamma mia) are feral and sonically powerful, and then there’s this poetry about the “rat falling through the range hood”—evocative, disturbing little nuggets that bark down capitalist greed. That bit is from “An Ode to Shoplifting,” where Mr. Garbage is joined by Future Suck’s Grace Gibson in the screaming, an added layer of fury and solidarity. *Psychic Injury* is heavy-fisted punk music that remains riveting from front to back. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/05/a3365285085_10.jpg) --- _This post is for paying subscribers only._ ### detroit’s 208 on turning trauma into shit-fi bangers URL: https://see-saw.fun/208-on-turning-trauma-into-shit-fi-bangers/ Last updated: 2024-12-19T07:21:27.000Z Kyle Edmonds and Shelby Say are drinking beers on the back patio behind Outer Limits Lounge in Hamtramck just outside Detroit. They record under the name [208](https://thekinks.bandcamp.com/?ref=see-saw.fun) and just put out a four-track lo-fi rager that lays waste to the listeners’ ears. Shelby recognizes my name from one of the new [Goodbye Boozy 7”](https://see-saw.fun/punk-this-week-208-nag-late-shift-5-more/) pre-orders, so the duo hand me my copy in person. There’s a stealy sticker with the number 208 inside the skull; my mind instantly starts searching for a place of honor to put this thing. It’s chilly and dark in Michigan on a Monday night, so the setting should be exactly right. Seeing as it’s karaoke night at Outer Limits, the mood is also fittingly chaotic; the clientele is half local punks and half karaoke people. In order to bring beers out back, I had to dodge two people grinding while their friend sang “Magic Man” by Heart of all things. Kyle and Shelby chuckle when I tell them this. They’re 27 and 28 respectively, not quite shy; maybe “initially mild-mannered but definitely know how to party.” They’re bandmates who, a couple weeks after we spoke, announced their engagement. Looking at the sleeve of their new 7”, there are dozens of symbols surrounding a portrait of the duo. It turns out at least most of them mean something. The fingertip, for example, represents Kyle accidentally chopping off the end of his finger at work. Even the band’s name, 208, is a numerology reference. “It equals one—the beginning,” Kyle says. “It’s super heady, but I try to think of the beginning whenever I make anything. The base level, completely based on emotion.” It turns out that emotion, and specifically deeply held trauma, is why their music is so wildly loud. *Content warning: There’s a grisly 19th century murder story in this interview.* --- **What attracts you to making punk records that are blown-out and lo-fi?** Kyle Edmonds: The subject matter of the music comes from trauma, so I try to translate that into its sonic qualities. My dad was this very man’s man kind of person, but at a very young age, he got addicted to drugs because he got in a really bad car crash. In the typical intervention style, you get prescribed a ton of drugs, and then you get addicted to drugs, and you can never stop. It turned into a lifelong thing for him. He was still very much a provider for our family, but it slowly turned really dark. He was doing every drug imaginable to the point where he had a stroke. It absolutely destroyed our family. Shelby Say: Pandora’s box just exploded. Kyle Edmonds: Shelby and I have been dating for almost 10 years, and that was right at the beginning of our relationship. We formed the band at the same time, so I was going through a lot and she was going through it with me. I started to try to tell those stories with songs and create characters that are experiencing these things. Technically, they’re all me. **Given the darkness behind the music, does it suck to read someone like me praising how much fun the records sound?** Kyle Edmonds: No, not necessarily, because in the end, the goal of the music from the start was to inspire people to express their own stuff. Hopefully my extreme trauma and the darkness in the music affects people like how Black Sabbath or something affected me. Like it’s so intensely dark, but it makes you have a visceral reaction to your own life and have a good time even within anger or sadness. **How did you two meet?** Kyle Edmonds: I grew up around here in the Detroit suburbs, but I moved to Sarasota, Florida in 2009, and that’s where we met—in high school. Shelby Say: I was born and raised in Florida. We dated a little bit in high school, but then broke up, and then we started dating again after we graduated. After a few years, Kyle mentioned that he’d been entertaining the idea of moving back to Michigan. We both hated Florida, so I was like, yeah, let's go. We tried playing music down there, but…I don’t know. Kyle Edmonds: There was absolutely no scene. It was weird—there was a Midwest emo scene somehow. Shelby Say: And metal bands. Other than that, it’s middle-aged dudes playing in rock cover bands and “Margaritaville”-style stuff. We really felt like we didn’t fit in. Kyle Edmonds: The reaction to the music when we finally found some people that were mutuals was just people standing and staring. When we finally booked this house show and that happened to us? We were like, *We need to get the fuck out of here*. Shelby Say: Detroit feels a lot more like home than Florida did, for sure. When we first moved here I was definitely a lot more nervous to get out and meet people, but Kyle just immediately started going out to shows finding out where shit was happening and getting to know people. We made a lot of friends really fast. Once people found out we were in a band and played music, everyone was just open arms. **How do you make your records sound like this?** Kyle Edmonds: I luckily came across a really nice ’60s Twin, which has a really rich almost dark sound to it. You just crank it to a million, and then I found the Fuzz Face, which is just the very typical Eric Clapton, Jimi Hendrix-style pedal. I turned the fuzz all the way down and turned the volume all the way up, so it's just another stage of extra volume, which, in that amp, I think that it just makes it sound it still is clear but broken up. And then four-track. The whole thing is having a four track, and it really blasts the sound a lot. [POSSESSION by 208](https://thekinks.bandcamp.com/album/possession?ref=see-saw.fun) *\[Andrew Hecker, friend of 208 and local musician who works at Outer Limits, walks up. He’s had a few.\]* Andrew Hecker: This is my wind-down day, but we wound up staying later than we thought. What’s going on here? Kyle Edmonds: We’re doing an interview. Andrew Hecker: I'm good at chiming in, but I can go fuck off if you guys want. Shelby Say: Hecker’s the interviewer now. **I’m not bothered.** Andrew Hecker: Do you watch Lifetime movies? Dude, they're insane. **What was the last Lifetime movie you watched, Hecker?** Andrew Hecker: It was called *Garage Sale Hell*. \[*Ed. note: It’s called* Deadly Garage Sale.\] The guy in the garage sale became obsessed with the lady, of course. That's how those movies go. But they killed him with nothing, like a steak knife. It didn't make any sense. **Do you guys have an album in you after this single?** Kyle Edmonds: I mean, I have a bunch of songs that I'm working on right now and upgrading our recording equipment. But we tried to record this record on a reel-to-reel eight-track, and it was too hi-fi. We did the whole thing. It took us a month and a half to do it. I was just like, This doesn't sound the way it should. And then we just recorded it in a week and a half on a four-track. It sounds exactly the way I want it to sound. So I'm afraid that that's going to happen again. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/05/a2212675563_10.jpg) **What’s going on with the grave on the back of the 7” art?** Kyle Edmonds: Shelby got really into looking up her family history and then when she got way too far into it and she couldn't find any more, she went into mine and she found only three great-grandfathers back. This guy, his name is Gorham. Shelby Say: We went searching for his grave because I couldn’t find any online records of where he was buried. I found where his son and some of his other children were buried. But I couldn't find exactly where he was buried. It's only an hour away in Attica, Michigan, where the family lived and everything, so I knew it was out there, so one day we just went out there and tried searching for his grave. Kyle Edmonds: But the story behind it, why we were searching for the grave, is this really fucked up story where he was a really bad alcoholic and really angry, crazy drunk. He threatened to kill his family all the time, and all the neighbors knew, it was the 1800s, so they're kind of just like, *Ah you know, he's crazy*. Shelby found this article. Shelby Say: This was around 1896\. He had a few kids from his first wife and a few kids from a second wife. Both wives had died from illnesses, but his three kids from his second wife were really young. They were all less than 10 years old, and they lived with him. He was a farmer, so they lived with him on the farm. Three kids from the first wife were all old enough to be married and moved away with their own children. So, one day, he just snapped. He tried inviting all of his kids from his first marriage over. Like, he tried wrangling all his kids to come visit him. Kyle Edmonds: And they're like, *No, you're crazy*. Shelby Say: So I don't know, he must have just been drinking and just had a psychotic episode one night, and he ended up killing his three children from his second wife that he lived with. With an ax. Kyle Edmonds: And not only just hacking, but slicing their throats from ear to ear. This is my third great-grandfather. Not only did he kill his family, in the article, it explains that he went to the sink, washed his hands off, loaded a gun, set the house on fire, and shot himself in the heart. So the house is burning, they put out the fire, and they found all the bodies. **What the fuck!** Both: Yeah. **So this grave on the back cover isn’t Gorham’s?** Shelby Say: He is buried in that cemetery, though. I found out exactly where he's buried, and it's at a cemetery we went to, but we couldn't find his grave. Kyle Edmonds: I was very inspired. I wanted to go there because I heard the story about Joe Meek and how when he was losing his mind, he would go to graveyards and just record the dead air. For our next record, my plan is to do a double album, one part of it is just a full-on regular record. The other is just a noise record that involves the graveyard recording in the background—continue that story. I recorded an hour or something. We just wandered around the graveyard and I recorded the dead air of us walking around. **That had to be wild, finding this story.** Shelby Say: I was blown away. I was just freaking out when I first found out about that. Kyle Edmonds: It gave me a lot of affirmations, sort of, on mental health problems I may be having or my immediate family from that side of the family might be having. There might be some throughlines. The other part is no one ever told me or my family or any of my cousins. I have 45 cousins on that side of the family. No one knows the story. No one. And it's not even that far back. **I’m going to be thinking of Gorham for a while. It’s a horror movie.** Kyle Edmonds: We should just make it ourselves. We make everything else. ## Sign up for see/saw a punk and rock’n’roll newsletter by evan minsker Subscribe Email sent! Check your inbox to complete your signup. No spam. Unsubscribe anytime. ### punk this week: cut piece, judy and the jerks, pardoner + 5 more URL: https://see-saw.fun/punk-this-week-cut-piece-judy-and-the-jerks-pardoner-5-more/ Last updated: 2024-05-24T12:16:58.000Z It’s Friday, May 24, and this is Punk This Week—see/saw’s rundown of the latest punk records worth a listen. Up this time around are the new Cut Piece album on Total Punk, a couple killer Mississippi area releases courtesy Judy and the Jerks & Hammer and the Tools, the post-Cruelster beef EP from Pardoner, and a blissfully gnarly offering from St. Louis wreckers Vile Desire. There’s more than that, too. Read on. --- **Cut Piece: *Your Own Good* \[Total Punk\]** [Your Own Good by CUT PIECE](https://totalpunkrecords.bandcamp.com/album/your-own-good?ref=see-saw.fun) There’s a justifiable rage on the new Cut Piece album, where stalkers and creeps and assholes are constantly jockeying to impose their will. The drums thunder, the guitar sound has a jagged post-punk vibe, the pacing is ramshackle, and holy shit are the lyrics razor sharp. “Let me tell you how to walk your dog/Been hunting you for weeks and my grip is strong,” Laura snarls. She’s barking about her hard limits, her boundaries, how she doesn’t share control. It’s a grim realism that fuels the most understandable growl: having to stay on guard because you exist in the world. The final song is the album’s most uplifting, both musically and in its message—a sax-laced anthem of reclamation: “I’m giving up on giving in.” ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/05/a3629705200_10.jpg) _This post is for paying subscribers only._ ### playlist: see/saw’s favorite shannon & the clams songs URL: https://see-saw.fun/playlist-see-saws-favorite-shannon-the-clams-songs/ Last updated: 2024-05-21T12:00:12.000Z Shannon & the Clams’ new album *The Moon Is in the Wrong Place*, which came out earlier this month, features some of their best work. That’s saying something for 15 years of making records, but it’s honestly true. “The Vow” is the best Clams song yet, one Shaw wrote for the late Joe Haener with the intention of surprising him with it on the planned wedding day he didn’t live to see. Even removed from its heartbreaking context (which is impossible so I’m not sure that last phrase bears writing at all), it’s an outpouring of love that feels instantly classic. Their songs always have a vintage feel, and this is no different. Still, for the first time, the band fully eclipse many of their aesthetic ’60s forebears with a perfect song. It’s not the only great song on the record: Hearing Shaw’s active mourning on “Oh So Close, Yet So Far” is heart-wrenching. This is beautiful, powerful music. These songs made me want to hear all of my favorite Shannon songs, including the first Shannon & the Clams records and her deeply underrated 2018 solo album *Shannon in Nashville*. She and Cody Blanchard both have such incredible voices and chemistry together. (Also, shout out Cody’s King Lollipop record from the early ’10s—still one of the most fun live shows I’ve ever seen.) The Clams have amassed an unbelievable songbook since their 2009 debut. My 20 favorites are all compiled [here](https://youtube.com/playlist?list=PLNqzFv7IbCW%5FBg6%5FbsJsvzKupFO6HCtTW&si=iUMLCV2Zhn5di6xM&ref=see-saw.fun) (embedded below in a browser), beginning with “The Vow”—their new high watermark and one of the best songs of 2024 in a walk. Shannon & the Clams: The Vow \[2024\] Shannon & the Clams: Done With You \[2011\] Shannon & the Clams: The Warlock in the Woods \[2009\] Shannon Shaw: Love I Can’t Explain \[2018\] Shannon & the Clams: Year of the Spider \[2021\] Shannon & the Clams: Rat House \[2013\] Shannon & the Clams: Do I Wanna Stay \[2021\] Shannon & the Clams: Oh So Close, Yet So Far \[2024\] Shannon & the Clams: Candy, Forget About Me \[2013\] Shannon & the Clams: How Long \[2015\] Shannon & the Clams: Onion \[2018\] Shannon & the Clams: Bean Fields \[2024\] Shannon & the Clams: Ozma \[2013\] King Lollipop: Cheeseburger & Fries \[2011\] Shannon & the Clams: Telling Myself \[2015\] Shannon & the Clams: Love Strike \[2018\] Shannon Shaw: Leather, Metal, Steel \[2018\] Shannon & the Clams: Mama \[2014\] Shannon & the Clams: Knock ’em Dead \[2015\] Shannon & the Clams: Half Rat \[2011\] ![Shannon & the Clams’ album artwork for The Moon Is in the Wrong Place](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/05/TMIITWP_front1.jpg) ### punk this week: bermuda squares, memo pst, bootlicker, d. sablu + 6 more URL: https://see-saw.fun/punk-this-week-bermuda-squares-memo-pst-bootlicker-d-sablu-6-more/ Last updated: 2024-05-17T12:58:29.000Z It’s Friday, May 17, and this is Punk This Week. It’s see/saw’s rundown of the new punk records that are worth a listen. It’s a big week, featuring records by Bermuda Squares, Memo PST (members of Ex-Cult and OBN IIIs), Sooks, D. Sablu, Bootlicker, Pyrex, Candy Apple, a new project from Billiam, and more. The full post is available to [paid subscribers](https://see-saw.fun/punk-this-week-bermuda-squares-memo-pst-bootlicker-d-sablu-6-more/#/portal/signup) (and [those who barter](https://see-saw.fun/bartering/) their way across the paywall). Free subscribers still have access to interviews, playlists, and more. Please consider a paid subscription to help grow this reader-supported endeavor. --- **Bermuda Squares: *Outsider* \[Feel It\]** [Outsider by Bermuda squares](https://bermudasquares.bandcamp.com/album/outsider?ref=see-saw.fun) *Outsider* is a remarkable debut album for Bermuda Squares, and even though they’re a newer group, that’s not much of a surprise. The Minneapolis punk band features members of Citric Dummies, Neo Neos, Green/Blue, Dummy, and more, so the pedigree is absolutely in place on paper. The proof is in the record. A killer guitar solo and harmony vocals pile on top of a fuzzy and fast power chord chug. There’s bite, and it’s carried by strong songcraft and musicianship. It’s power pop that’s heavy on the power and rarely lets up on the gas—an absolute romp. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/05/a3897928599_10.jpg) _This post is for paying subscribers only._ ### cruelster are upset with all musicians in cars URL: https://see-saw.fun/cruelster-are-angry-at-almost-all-musicians-photographed-in-cars/ Last updated: 2024-05-15T12:45:38.000Z Cruelster stepped in it big time. The Cleveland band, known for their undefeated Instagram presence as much as their records, [were photographed](https://www.instagram.com/creemmag/p/C30cPuzyt9e/?img%5Findex=1&ref=see-saw.fun) drinking in the front seat of a car for a feature in *Creem*. Soon after, the West Coast band Pardoner revealed that [their photograph](https://www.instagram.com/creulster/p/C6kNfcwJkTt/?ref=see-saw.fun) in the front seat of a car came first. A whirlwind Instagram beef was aired and swiftly squashed. “We cast a forgiveness spell,” Pardoner said in a statement to see/saw. “We have been pardoned by Pardoner after physical threats from our agent to make us ignite internet beef with this band who is actually good,” the band said in a [prepared statement](https://www.instagram.com/creulster/p/C6kRi13ppO5/?ref=see-saw.fun) on May 4\. “We don’t regret anything as it was out of fear in which we acted wrongly. We did nothing wrong and Pardoner did everything right. The case will however proceed in federal court, but we hereby refuse to comply with any subpoena.” Thank Christ these two aren’t feuding anymore. The ever-tenuous garage punk ecosystem can’t stomach these two bands at each other’s throats over a photographic trope that, it turns out, has existed in some format or another. Alerted to this reality, Cruelster typed out some thoughts about other artists who have dared to in the front seat of a car. \[Editor’s note: The opinions reflected below by Cruelster are in no way endorsed by the proprietor of see-saw.fun.\] [Lost Inside My Mind In Another State of Mind. The Singles Collection LP by Cruelster](https://drunkensailorrecords.bandcamp.com/album/lost-inside-my-mind-in-another-state-of-mind-the-singles-collection-lp?ref=see-saw.fun) --- **The Birthday Party** We hate this but it’s not because of the car show ghoul (though we’re currently involved with a federal lawsuit with Big Daddy Roth). But it’s because the band is called the Birthday Party and I absolutely hate when people talk about this band or bring them up, especially in person. It’s really bad. It’s like that band “clapyourhandssayyeah.” I don’t ever want to hear anybody say that band name in real life and I especially don’t want to hear anyone ask if I like “the Birthday Party.” It’s like how every city in the ’80s had a band called “Free Beer” because they thought it would be funny to put that on a flyer. So people think it’s free beer and not a band called Free Beer. You think it’s funny to put “birthday party” on a flyer and trick children like that? ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/05/22UMGIM28083.rgb.jpg) --- **Helmut Zacharias** This one is a big problem. Most importantly, it’s one guy instead of five guys and he’s sitting on top of a moving vehicle instead of sitting instead of a parked Silverado drinking our fourth favorite kind of beer. His name is Helmut, which is fine, but he is playing Beatles songs on a fiddle and that is a red flag. This guy has done horrible things to people and has been violent to innocent people. He has likely caused great distress and trauma to many people in his life. The photo isn’t fooling me. If you have to refer to something as “happy,” it is inherently dark beyond comprehension. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/05/115891269.jpg) --- **Kash Doll** This one is extremely concerning. Two sexy cowboy women in a burning vehicle. In their final moments, we read giant word art that means very little. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/05/7fafbbdcf6308759c7d9ebb44684b39a.1000x1000x1.png) --- **The Minutemen** Minutemen are a terrible funk band forever tarnished by the fact that they licensed their soul to the rich adults doing penis stunts on MTV2 known as Jackass. Fuck the Minutemen… have you ever listened to this band? Good luck getting through one song. Disgusting. Not to mention this album cover is a total rip off of an old MySpace pic of me and Jo sitting in the back of my parents’ 1995 Plymouth Voyager. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/05/dj.aieliucv.jpg) --- **Bela Fleck** This is a Reddit guy turning around to ask r/punk if Cruelster is egg punk, satire, or hardcore. 21 people are in the back of the limo answering the question. This album cover is also a direct rip off of our many Instagram videos of one of us turning around from the front seat of the van. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/05/00888072376571.rgb.jpg) --- **Advertisement** This album cover was brought to our attention during the discovery phase of the federal lawsuit with Pardoner. It’s concerning because it’s very close to home. The band Advertisement is only four hours away from us, while we are unlikely to ever meet Pardoner because they are on the West Coast. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/05/a2093215964_10.jpg) --- **James Corden’s Carpool Karaoke** James Corden is too harsh for us to even find an angle to make legitimate commentary. Let’s just say everything you’ve heard about QAnon is directly related to James Corden. --- **Pardoner** So when *Creem* magazine did the article about Cruelster, they wanted us to send a ton of pictures and flyers and memorabilia, like a Rock and Roll Hall of Fame type thing. We took a bunch of pictures with our friend David Macluskie. We had absolutely no control over what pictures were chosen for publication. We sent many pictures of us in intense realist situations (ala Caravaggio) but I think *Creem* wanted more of a “Drunk Driver” vibe and not a theater kid vibe. I don’t want to say whose idea the car photo was because at this point it would be incriminating. More and more people started sending us the picture of Pardoner in the same type of photo (but without beer?) and it got to the point where we couldn’t stay silent. We spoke out loudly and proudly and they almost immediately proved that their photo was first. To my knowledge, their photo might be the first photo of its kind. It even pre-dates the Advertisement album cover and *That 70s Show*. Well we immediately and responsibly issued our accountability post, it was very well received by the public, and we even became great friends with Pardoner and decided they are a good band. Sadly though, the lawsuit has already been filed in federal court and we don’t know how to unfile it. So I hope those guys have a big big giant lawyer. --- *Pardoner’s upcoming EP,* [Paranoid in Hell](https://convulserecords.bandcamp.com/album/paranoid-in-hell?ref=see-saw.fun)*, is out next week. The Cruelster compilation* [Lost Inside My Mind in Another State of Mind: The Singles Collection LP](https://drunkensailorrecords.bandcamp.com/album/lost-inside-my-mind-in-another-state-of-mind-the-singles-collection-lp?ref=see-saw.fun) *is out now.* ### soup activists’ martin meyer on the new album + life after lumpy URL: https://see-saw.fun/soup-activists-martin-meyer-on-the-new-album-and-life-after-lumpy/ Last updated: 2025-02-19T18:56:34.000Z There were a few years where Martin Meyer was ostensibly “Lumpy”—the goblin screaming out front in [Lumpy and the Dumpers](https://lumpythedumpers.bandcamp.com/?ref=see-saw.fun), an explosively slimy hardcore outfit without hinges or fucks. Nobody quite did it like the Dumpers, a singular and tantalizingly disgusting voice often aped but never replicated. It was easy to think of them as a lynchpin of a greater scene thanks to Meyer’s label Lumpy Records, which put out essential records like the CCTV 7” or the Natural Man Band album. All things Lumpy quietly came to a halt sometime in the past couple years as Martin began releasing tapes on his new label Rotten Apple and rolled out a jangly Flying Nun-inspired singer-songwriter project called Soup Activists. The new album *Mummy What Are Flowers For?* was recorded with Sweeping Promises at their home studio, and it’s got some fantastic pop songs recorded minimally, which means the hooks pop all the more. It’s on his new label Inscrutable Records, which also put out albums by Famous Mammals, Pleasant Mob, and Tia Rosa. With so much going on and an exceptional new full-length out, Martin jumped on the phone to talk about life in the present and what’s left in the past. **Are Lumpy and the Dumpers and Lumpy Records purely in the past at this point?** Yeah, pretty much. We did just play some shows. Dumpers toured Australia in 2016, and our friend Jake from Alien Nosejob booked the tour. We became really tight and have stayed in touch over the years. The Dumpers and Jake, we're good friends, so then he asked us to be his backing band on this recent Alien Nosejob tour, and we all said yeah, because it was our mate Jake, who we hadn't seen in forever. So we started practicing before he got there, and we got to play music together for the first time in like, what was it, five years? And it was really fun, it immediately felt great. I kind of got conned. I was like, “I’m not going to do it again.” I didn't want to, because personally, I’ve moved on from that in a big way. But I don't know, we were all together, so it was like, ah, fuck it, why not? And so we ended up playing every night of the tour, like three to six songs or something. **When you say you’ve moved on in a big way, could you explain why? Are you just done making that kind of music?** I love punk music and all, but I don’t know, it just really ran its course. I didn’t want to make music like that anymore. Then egg punk came out and I really didn’t like being boxed in by that. I thought all of the egg punk bands weren’t good, anyway. I was over it. I like the old Dumpers stuff, but I’m in a new era of my life. **It’s interesting that you don’t think the new egg punk stuff is very good. I definitely enjoy some of it.** Yeah, people love it. It’s fine. **What would you say the moodboard is for Soup Activists? Where do you find inspiration?** Obviously, like, indie. I had a roommate for three years recently, it's my best friend Reese, who sort of changed my life. He opened me up to all this other music besides punk and hardcore, which I had been obsessed with for almost a decade. Reese showed me the way. Reese got me really into, like, Jesus and Mary Chain, Television Personalities, Dolly Mixture. Once you find the OG ‘80s indie bands, which are essentially punk bands, then you find the Clean and Flying Nun. You find this whole other universe that's basically the ethos of punk, and it is punk, but it's considered indie. I don't know. It’s all rocknroll to me, but Soup Activists is definitely a reflection of that newfound taste and style that I love. **Is the band named after the activists who throw soup at paintings?** No! I had the band name before that happened. The first Soup tape came out in December 2020, and then those kids did that thing, what, two years ago? People were like “you're gonna get so much attention.” It didn't happen. Me and my friend were just goofballs. We just riff on absurd ideas and have very similar humor. We just came up with Soup Activists one day; it was our bit for the day. **The new album was recorded with Sweeping Promises in their home studio—tell me about that experience.** Oh, God, it was awesome. So they got a house in Lawrence, Kansas, which is like an hour away from Kansas City. I guess they got that check from Sub Pop at the time because they bought that house in Lawrence and built a studio in it. I met them in like 2022 at a show, and they were nice. Somehow, I heard they had a studio, and I think I just asked them if I could record there. My other band Pineapple R&R, we went and recorded with them August 2022 and saw the studio, worked with Caufield, it was great, it sounded great. So then I asked him if I could just come back and do a Soup thing, and he said, yeah. So I went in November, and, yeah, we banged it out in three days. **The album description mentions that it’s a personal record for you. How does that come through on the album?** I definitely spent a lot of time on the songs, musically and lyrically, and a lot of lyrics are just references from real life and my memories. I drew the cover, designed it, played all the instruments. It is personal. I made this record by myself, essentially, but I can’t overstate how important Caufield and Lira were, and I'm so happy with how it sounds. I mean Caufield’s a genius. It was amazing working with him cause he would guide me sometimes and request another take of a vocal or suggest, “Why don't you add feedback here?” On “Chaos Girls,” there’s a feedback solo at the end that we added all these layers on. I think some of that was his idea. And just such incredible gear, too. I've never been around stuff that nice. I mean, it's the first album I've ever made in a proper studio. He had this ‘60s organ, a farfisa, which I had never heard of before. But it sounds exactly like what the Clean used on “Tally Ho!,” so obviously, I was obsessed with it. And it's on the record a couple times. It’s on “Gilchrist” and “Matching Teens.” And, oh my God, Lira. Lira makes the record. Her voice, she's a professionally trained singer and such a sweetheart. I asked her to sing a couple songs, and she said yeah. She makes it really special. I’ve got to give them props. They are such inspiring people. They've been together for, like, 15 years and played in bands together for that amount of time, too. Finally, Sweeping Promises got really popular. But they've been in the trenches for 10 years before that, so it’s totally deserved. [Mummy What are Flowers For? by Soup Activists](https://soupactivists.bandcamp.com/album/mummy-what-are-flowers-for?ref=see-saw.fun) **Do boys with plants actually drive you wild?** I'm having fun in that song. That line is something someone texted me once. I was having a romance with someone, we were sending dumb pictures back and forth. I think I showed her my plants. And then she said, “Boys with plants drive me wild.” I was, like, oh, that's good. I like that line. **You launched Inscrutable Records with four albums at once. Was this constellation of music meant to convey what listeners can expect from the label?** Sort of, yeah. They all sort of fell into my lap. It’s a very cohesive batch. They're all pop records, but also kind of hard to pin down. Thus: Inscrutable. It fit really well with the name. And, yeah, I think that is what you should expect: DIY, pop, indie, whatever, but unpredictable. I think records are really interesting when they're hard to categorize. There's lots of stuff like that now. I feel like lots of people from the punk scene that I have known from eight or so years back, they're all starting indie bands now. Do you notice this? A lot of it has nowhere to go, in my opinion. I wanted to start a label where I could, like, put out all that stuff. I have four more LPs lined up. They're not at the plant yet, but they're going to come out probably end of summer. More info soon. Oh yeah and I’m going to make another record. I already have it demoed out, I just need to finish the lyrics. **What else do you have cooking?** Here's a funny tidbit. My friend, Gabe, who is in Dumpers, he has a new band, Still Animals. They got asked to open a tour for Me First and the Gimme Gimmes on the West Coast, somehow. Like, they got a message on Bandcamp giving them this insane offer, and the bassist, Jessie, is Gabe's wife, and she's pregnant. She's going to have a kid in July. In August, they want to do the tour, so they asked me to play bass. I'm going to play bass in this band on tour with Me First and the Gimme Gimmes, and their bassist is C.J. Ramone. I'm going to be on tour with a Ramone! ### yambag’s new album mindfuck ultra didn’t have to go this hard URL: https://see-saw.fun/yambags-new-album-mindfuck-ultra-didnt-have-to-go-this-hard/ Last updated: 2024-05-10T19:13:42.000Z In their new album *Mindfuck Ultra*, Cleveland hardcore stars Yambag are completely unrelenting. Listeners aren’t afforded a moment to breathe from the album’s first seconds when drummer Drew blots out any crack of dead space with his double bass crush. The vocals sound like a complete meltdown—yammering that sometimes exists in its own context, untethered from the rest of the band. It’s aggressive, yeah, but when they’re in this mode, the members of Yambag ascend to an intangible sphere of hardcore frenzy that’s just beyond reach for listener and bandmate alike. Vocalist Richard careens out of control on “No End in Sight” as the band seems to barrel past in an adjacent lane, everybody on their own journey but broadly living through the same bullshit. “You want me to take a stand?/You tie me up and expect me to lend a helping hand,” he screams fruitlessly, raging about power dynamics imposed on society as a whole. There’s a pseudo-McGruff on the album cover losing his mind about the end of democracy and “freedumbs,” a cartoon narc whose entire existence was to fight the war on drugs. It reinforces this idea of Yambag as a satire-forward hardcore band, and while that’s very real, something like “No End in Sight” offers some wildly relevant critiques of where shit is landing out there right now. That’s all over the place in *Mindfuck Ultra*. “Party Song” sarcastically revels in the turn-your-brain-off joy of a song that says absolutely nothing, ending with a hearty “shut the fuck up” ostensibly directed at anyone looking to escape while the world burns. “Frye vs Takayama,” so named for a 2002 MMA fight, sounds at once like a tribute to that bout and a commentary on strongman politics. The crown jewel of the album is the title track. Here, the band is in lock-step with each other, which means each jarring change-up in percussion and sudden jolts of fuzz feel coordinated. Dude is screaming up front about someone who’s armed, disconnected, and seems to have a dark plan. There’s a repeated quote in there: “Son the things I’ve seen online will make you wonder why.” It’s jarring, heavy music about a civilization where everybody’s going to extreme ends to look out for number one, and it’s a dark realism set to relentlessly burly hardcore. Yambag is a sick band whose name my phone is desperate to autocorrect into all-caps, and frankly, sure: YAMBAG. [Mindfuck Ultra by Yambag](https://yambag.bandcamp.com/album/mindfuck-ultra?ref=see-saw.fun) ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/05/a2378637528_10.jpg) *Yambag’s new album* Mindfuck Ultra *is out now on* [*Convulse*](https://convulserecords.com/?ref=see-saw.fun) *and 11PM.* ### punk this week: 208, nag, late shift + 5 more URL: https://see-saw.fun/punk-this-week-208-nag-late-shift-5-more/ Last updated: 2024-05-10T18:58:13.000Z It’s Friday, May 10, and this is [Punk This Week](https://see-saw.fun/tag/punk-this-week/). It’s see/saw’s rundown of the new punk records that are worth a listen. The latest installment features new ones from 208, Nag, Tommy Cossack, Purgatorio, Late Shift, and Googon. The full post is available to paid subscribers (and those who barter their way through the paywall). Free subscribers still have access to [interviews](https://see-saw.fun/tag/interview/), [playlists](https://see-saw.fun/tag/playlist/), and more. Please consider a paid subscription to help grow this reader-supported endeavor. RIP Gary Floyd and Steve Albini. --- **208:** [***Possession***](https://thekinks.bandcamp.com/album/possession?ref=see-saw.fun) **\[Goodbye Boozy\]** [POSSESSION by 208](https://thekinks.bandcamp.com/album/possession?ref=see-saw.fun) 208, the Detroit duo of Kyle Edmonds and Shelby Say, make shit-fi and blown out bluesy rock’n’roll that brings to mind the Gories or some old Siltbreeze records. Sonically, it feels like party music to explode your ears and get you dancing—this midpoint between garage rock and noise. *Possession* isn’t abrasive to bolster the aesthetic fun of the whole deal. They tried recording nice and pretty on a reel-to-reel, but when you’re responding to trauma through music, it’s impossible to make music loud enough. Bluntly, “Tantrum” is a song about abuse. “Desires” and “Possession” both reach for something unattainable. Not just because it absolutely rips, this new EP is some heavy shit. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/05/208.jpeg) _This post is for paying subscribers only._ ### aew’s bounty hunter bryan keith on knocked loose, rise against, and japanese hardcore URL: https://see-saw.fun/aews-bounty-hunter-bryan-keith-on-knocked-loose-rise-against-and-japanese-hardcore/ Last updated: 2024-12-04T23:52:08.000Z *“Record Exchange” is a series of conversations between see/saw’s Evan Minsker and a fellow punk enthusiast. Each person brings two songs to discuss. The first installment is a chat with AEW wrestler and Swisha House-sponsored Houston ass kicker, the Bounty Hunter Bryan Keith.* [*Please consider subscribing*](https://see-saw.fun/about/#/portal/) *to this reader-supported newsletter!* Years before he was collecting bounties and appearing as a fully feral All Japan apostle (which means hits his unlucky opponents with extreme force), Bryan Keith worked as an assistant manager at a Hot Topic. As a younger dude, he only listened to rap, balking when his friends would play punk songs in the car. Working at a cookies spot in the mall, he eventually fell in with the Hot Topic crew, got a job there, and started going to Warped Tour every year on the company’s dime. Unsurprisingly for such a gleefully violent wrestler, he absolutely thrived in the pit. He learned about bands not just at work or Warped Tour, but the way so many of us found our first favorite bands: in wrestling highlight reels and video games. These days, he’s a dad who mostly finds time for hardcore when he’s in the gym or driving. “I also love showing my kids different types of music, and they listen to metal and hardcore with me,” he says, laughing. “I’ve been teaching them how to mosh.” Listening to his two picks during our record exchange, he bangs his head and sings along. When the Knocked Loose track goes ominously quiet, he makes an announcement: “Nobody’s safe.” Rocking a Swisha House t-shirt, he lifts his hands, grits his teeth, and starts doing his pro wrestling taunt as I laugh uncontrollably. Keith is relatively new to the AEW roster, getting his All Elite status earlier this year after a [banger with Eddie Kingston](https://www.youtube.com/watch?v=oPMVgKsquBE&ref=see-saw.fun). He’s part of a roster that includes wrestling gods like Kazuchika Okada and Bryan Danielson. The dream match possibilities are endless, and over on the independents, he’s wrestling KENTA at DEFY for the title this Friday. “I'm a big NOAH guy and a big All Japan guy, so for sure I'm a big KENTA guy. And I spent many a time surfing the internet as a child watching KENTA beat the crap out of people. I’m blessed and honored that I get to add to that list, but you know what? He ain't gonna be the only one dishing out the ass whoopins.” **Keith’s pick: Rise Against’s “The Good Left Undone”** I saw Rise Against once before Warped Tour at the Verizon Center here in Houston. I really learned about them from playing wrestling video games. They were on the soundtracks. I remember hanging out with my friends and memorizing the whole soundtrack. I started doing my research and just figuring out how cool of a band they are. One of my friends Javier Vega, he's a wrestler here, and I feel like our friendship was strengthened through wrestling, Yu-Gi-Oh!, and Rise Against. That's why Rise Against is one of my favorite bands—a lot of the intimate and cool moments that I had with my friends, Rise Against was playing in the background. I remember looking up *The Sufferer & The Witness*. I didn't skip a song the first time hearing that whole album and I still don't to this day. A GOATed album. You know what's crazy? I played it so much me and Javier Vega literally got in a car wreck while we were playing that CD. The car got totaled and the CD was stuck in the player and I never got the CD back. Me and him think about that to this day. We were jamming out to that album, going to wrestling practice, and bam, T-boned by a truck. Bro thank god we’re both alive and OK, but that was my only copy of that CD! **see/saw’s pick: The Chisel’s “Cuts Like a Knife”** *Thinking about what’s “my version” of a Rise Against song, something that isn’t a Warped Tour band but feels like an emotional punk song, I’m picking one off the new Chisel album. I’ve been listening to it a lot, this track about fatherhood with a sparkly pop outro.* [What A Fucking Nightmare by The Chisel](https://thechisel.bandcamp.com/album/what-a-fucking-nightmare?ref=see-saw.fun) That was a hell of a song. That’s sick, and that message, too, man. I got kids myself, as a man, sometimes you think about yourself in those positions like that. You know: It’s now or never, you got to change your life when it’s time. And I saw they had that Blackpool tag on Bandcamp? They should do a highlight package for the Blackpool Combat Club, like where they’re beating the shit out of everybody and that’s playing in the background? **Keith’s pick: Knocked Loose’s “When the Light Divides the Holler”** I got into Knocked Loose because one of my friends that got me into hardcore listened to Knocked Loose. He was playing it in the car and I was like, “Bro, who the hell is this?” I’ve been jamming it more and more. I’m not as well-versed as I am in Rise Against, who I’ve been listening to forever, but Knocked Loose is one of my favorite bands now. Especially when homie starts barking on the track, it’s like, bro, I’ll strangle somebody. *Watching you listen to that, I got a very brief and terrifying insight into what you’re like in the pit.* Yeah I'm a monster, man. I enjoy being in there. That's what it's all about, going to Warped Tour with my friends and we're just out here spending the whole day beating the crap out of each other, but at the same time, loving each other, you know? There's pit rules. If anybody falls down, you pick them back up. Everybody's coming together. But, you know, walls of death all day, circle pits all day. I love it, man. **see/saw’s pick: Kriegshög’s 虚空** *Admittedly there’s some recency bias with this one. It’s the opener from the Japanese hardcore band Kriegshög’s just-released album* Love & Revenge. *That song title translates to “Void.”* [Love & Revenge by Kriegshög](https://lavidaesunmus.bandcamp.com/album/love-revenge?ref=see-saw.fun) Fire. That gallop, I love it. This is right on brand for me, baby, 100%. *Yeah you recently wrestled in Japan for the first time; what did you think?* Brother, I've waited my whole life to go to Japan and I had an expectation for it. And I was there for two weeks and it blew my expectation out of the water. It was way better than what I expected. I definitely want to go back as soon as possible. Everybody was nice, treated me as kind as possible, it was a phenomenal time. While I was over there, they had a metal/hardcore bar that you could go to. They had a suggestion box. You write your song with the artist and they play it. In the visit that we were there, I put two or three songs and they all got played. I wrestled for DDT, and Mao, one of the DDT guys, he's in a hardcore band called Dos Quatro. But wow, I can't say enough about Japan, man. Japan was an amazing experience. I'm heavily influenced by Japanese culture, so I had to do it. I wrestled at Korakuen Hall, bro. Oh my God. It was crazy. I got to see Jun Akiyama wrestle, just in the back of the stands watching down. I was like, “What is life right now?” Pinch me, bro. ![Bounty Hunter Bryan Keith shoulder tackles Eddie Kingston](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/05/IMG_6187.JPEG) Bounty Hunter Bryan Keith shoulder tackles Eddie Kingston, photo courtesy AEW *Special thanks to* [*David Anthony*](https://www.formerclarity.com/?ref=see-saw.fun) *for additional consultation here.* ### punk this week: gee tee, fen fen, ar-kaics, alienator + 5 more URL: https://see-saw.fun/punk-this-week-gee-tee-fen-fen-ar-kaics-alienator-and-5-more/ Last updated: 2024-05-03T14:21:38.000Z It’s Friday, May 3, and this is [Punk This Week](https://see-saw.fun/tag/punk-this-week/). It’s see/saw’s rundown of the new punk records that are worth a listen. The latest installment features new albums and tapes from Gee Tee, Fen Fen, Ar-Kaics, Rouge, Dead Finks, Alienator, and more. Do you want to read about Grand Final? Egg Idiot? The Dogs? The full post is available to paid subscribers (and those who [barter](https://see-saw.fun/bartering/) their way through the paywall). Free subscribers still have access to [interviews](https://see-saw.fun/tag/interview/), [playlists](https://see-saw.fun/tag/playlist/), and more. Please consider a paid subscription to help grow this reader-supported endeavor! --- **Gee Tee:** [***Prehistoric Chrome***](https://geeteeband.bandcamp.com/album/prehistoric-chrome?ref=see-saw.fun) **\[Nailbiter\]** [Prehistoric Chrome by GEE TEE](https://geeteeband.bandcamp.com/album/prehistoric-chrome?ref=see-saw.fun) Following the first self-titled album and *Goodnight Neanderthal*, Gee Tee’s *Prehistoric Chrome* follows two of the best garage punk records of the past decade as the third best of the three. A demo of *Neanderthal*’s “40k” is among the best things here—a stripped down reading of a classic; it’s like those Jay Reatard singles that later got proper elaborate album recordings. It’s not that the songs of *Prehistoric Chrome* aren’t strong, it’s just a tightrope walk making music that sounds like this and having everything hit with maximum impact. There’s not enough variation to justify why this is a long pretty good album instead of a half-as-long really good album or three stellar singles. All this said: “Couch Potato” is fun as shit! There’s a lot to love about “Stink Eye!” Get these compliments while they’re hot! ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/05/a0574974177_10-1.jpg) --- **Fen Fen:** [***National Threat***](https://sweettime.bandcamp.com/album/national-threat?ref=see-saw.fun) **\[Sweet Time\]** [NATIONAL THREAT by FEN FEN](https://sweettime.bandcamp.com/album/national-threat?ref=see-saw.fun) Fen Fen make paranoid Detroit punk that reminds me of the good old days when we had Urinal Cake Records. (Pour one out into the Splash Hog.) *National Threat* is crashing and frenzied muscle punk defined by screeching guitars and frantic screams. There’s also this vintage-feeling puritanical outrage that feels refreshing, like “FM”’s screed about the state of terrestrial radio. It’s like if the Victims’ “Television Addict” stole Howard Stern’s early satellite era monologues. The hooks are sick, the music is exciting, everything goes hard. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/05/a2143216052_10.jpg) _This post is for paying subscribers only._ ### playlist: the best punk songs of april 2024 URL: https://see-saw.fun/playlist-the-best-punk-songs-of-april-2024/ Last updated: 2024-05-03T14:14:32.000Z The launch month for see/saw has been an overwhelming and deeply positive experience. Thank you for reading, for subscribing, and for telling people about this new project. There was this period at Pitchfork right before my son was born where I felt wildly energized as a writer. I was on this prolific streak where all I wanted to do was interview artists and write about bands like Abi Ooze and Phil & the Tiles and Palánta. It’s almost like I’m back there, but honestly the feeling is so much bigger this time. I’m more excited, I’m writing more, and I feel way more engaged with readers than I ever have before. This playlist is gonna feel special to me for a long time because of the month it represents. The first month of see/saw has included a [Q1 best of list](https://see-saw.fun/the-best-punk-records-of-2024-january-march/), interviews with [Enemic Interior](https://see-saw.fun/interview-barcelona-punks-enemic-interior/) and [Jonah Falco](https://see-saw.fun/interview-fucked-ups-jonah-falco-is-helping-shape-the-sound-of-uk-punk/), a [playlist](https://see-saw.fun/playlist-after-cindy-lees-diamond-jubilee/) inspired by the great new Cindy Lee album, an essay about a [Marked Men reunion show](https://see-saw.fun/at-the-show-a-marked-men-matinee-in-minneapolis/), and three “[Punk This Week](https://see-saw.fun/tag/punk-this-week/)” round-up posts. Before we get into the playlist itself, I figured this is as good a place as any to share a few updates: - If you hadn’t noticed, there’s a [new logo](https://www.instagram.com/p/C6SQST9t91p/?ref=see-saw.fun) in the top left corner by the great Ian Teeple (Silicone Prairie, Natural Man Band, Warm Bodies). I almost cried when I first saw it. It is cooler than my wildest dreams led me to believe it would’ve been. [*Living in a Chemical World*](https://siliconeprairie.bandcamp.com/album/living-in-a-chemical-world-with-the-natural-man-band?ref=see-saw.fun) remains one of my favorite records of all time, so I’m still in disbelief. - The great [Tyler Nickell](https://www.tylrnckll.com/about?ref=see-saw.fun) made some [truly unbelievable flyers](https://www.instagram.com/p/C6Xs4hsNtRv/?ref=see-saw.fun). If you want to put up flyers in your community, please hit me up: eminsker@gmail.com. - There’s an [Instagram account for see/saw](https://www.instagram.com/seesawdotfun/?ref=see-saw.fun) now. Follow along if you want to see [exceptional pull quotes](https://www.instagram.com/p/C6WMxx%5FOx%5FE/?img%5Findex=2&ref=see-saw.fun) or my [absurd vlogs](https://www.instagram.com/p/C6OcNwkOGZp/?ref=see-saw.fun) promoting this project. - I’ve enabled a reply-to feature for the newsletter, so you should be able to just respond to the emails if you wan to send me some questions or comments going forward. Please do! Maybe we’ll do a mailbag from time to time, who knows. I don’t wanna step on [Electric Nebraska](https://samsodomsky.substack.com/?ref=see-saw.fun)’s toes. - Paid subscribers now have access to a comment section, so that’s another way to engage. - The paywall goes live for “Punk This Week” posts starting Friday, so if you’ve been enjoying those recommendations, please do upgrade to a paid subscription in an effort to grow this reader-supported endeavor. - If you’re uneasy about paying the $4/month or $40/year but still want to read “Punk This Week,” hit me up! We’ll work out a deal through [the bartering program](https://see-saw.fun/bartering/) (and yes, I am serious about that). I have some crazy dreams about where see/saw goes from here, and it only happens with you reading, sharing, and throwing some time and money behind it. Like maybe it’ll be the kind of thing where I pay my friends to write for this. Maybe a zine? We’ll see. Slow and steady. The playlist begins fun and ends intense, from rock to hardcore. (I guess that Abe and the Shits goes pretty hard, but it’s a playlist, gotta start strong.) Skip to the middle if you need a kick in the pants, but this entire thing is good. Thanks again for reading. The playlist is [linked here](https://bndcmpr.co/c0c6e97a?ref=see-saw.fun) or available to hear as an embed in the browser version of this post. **see/saw: the best punk songs of april 2024** Abe and the Shits: LOVE Bermuda Squares: Car Accident Parsnip: Turn to Love Diode: Card Dealer CRAN: Rejet Billiam: Where Is Jackson Reid Briggs? Busted Head Racket: Girl Anymore (I Don’t Wanna) Sex Germs: Crocodile Shruggy: Eliminate It Woodstock 99: Hotter Than a Half-Fucked Fox in a Forest Fire Sooks: Library Lambrini Girls: God’s Country The Dogs: We Are the Dogs Program: Sparks Soup Activists: Chaos Girls Liquid Lunch: John’s in Trouble (Again) Spoonful: Robot Hell Cervix: Compliance Osbo: FC Cruciform: Chunky Was Here Rouge: Hungry Ghosts Pork Belly: Lucky Start Laxity: Mój Sen Balta: Ideg AMØR: Lagrimas Negras Prisāo: Cárcere Alienator: Buried Alive ### fucked up’s jonah falco is helping shape the sound of uk punk URL: https://see-saw.fun/interview-fucked-ups-jonah-falco-is-helping-shape-the-sound-of-uk-punk/ Last updated: 2024-12-04T23:51:39.000Z At some point around the outset of the pandemic, [Jonah Falco](https://www.instagram.com/jonahjonahfalco/?ref=see-saw.fun) of Toronto hardcore/indie rock giants Fucked Up had his name appear as the engineer and producer on the credits for several UK punk records. There he was, behind the boards for the outstanding debut Chubby and the Gang album [*Speed Kills*](https://chubbyandthegang.bandcamp.com/album/speed-kills?ref=see-saw.fun) and its follow-up [*The Mutt’s Nuts*](https://chubbyandthegang.bandcamp.com/album/the-mutts-nuts?ref=see-saw.fun). He worked on the last High Vis album *Blending*, and most recently, he collaborated with the Chisel on their excellent new album [*What a Fucking Nightmare*](https://see-saw.fun/the-best-punk-records-of-2024-january-march/). On raucous oi! records and albums defined by post-punk wash, Falco’s signature seemed to appear on each record—an anthemic polish, little power pop touches that glitter up the grit. Just listen to the Chisel’s “Cuts Like a Knife,” which gleams with pop ambition over a biting vocal performance. It turns out, Falco married an English woman and they live together on a boat in London. He moved there for love in 2016, which slotted into his life as a working and touring Canadian musician easier than you might assume. “I’m very lucky that my life is essentially modular anyway,” he says. “You’re on and off the road, and Fucked Up was kind of in a flow; it's not like we practice weekly. We just get together before a tour and do some stuff in the studio here and there.” Outside his work as a producer and his most popular band, Falco is the singer in the band Boss, a project he describes as “strangely tenuous” that’s put out two excellent singles. “Steel Box,” which got a release by Goner in 2018, is about living on the boat. As far as what’s coming in the future, he’s got a new album coming with Jade Hairpins, there’s a third Chubby and the Gang album on the way, and he worked on a forthcoming new one from Edmonton’s Home Front. When we spoke, he was a few days into producing the third High Vis album. Falco took a moment out of a busy recording schedule to discuss his role as producer, helping shape the sound of a scene, and boat life. (He was in an office, not on the boat, during this chat.) **The first record out of the UK I noticed your credit on was Chubby & the Gang’s first album *Speed Kills*.** That record just blew up seemingly out of nowhere. That was sort of a landmark thing for me all my other records that have been kind of popular have just been strictly within subculture and that sort of all of a sudden popped its head out. I've done every record Charlie—Chubby in the Gang—has done. I remember him telling me he had this idea for a project and I recorded their first single “Uxbridge Road” in a basement not too far from where I'm sitting right now. We just did the music. Charlie didn’t have the time and he didn’t quite have it put together to do the vocals. A few weeks later I was like, “OK, well have you got the lyrics, you got the microphone, you got a sound check, I’m gonna hit record and you just sing.” So I hit record and he went to sing the first note and just made a noise. He said stop and was like, “I’m making a terrible mistake, I don’t think we should do this, let’s just leave,” and I was like “no no no no come on, try it, it’s all right.” And here we are. That record opened doors for both of us in many ways. **Do you feel like you know what you contribute as a producer for these bands?** I ask myself this question all the time. Like any person in the arts or in the creative industry, I struggle with imposter syndrome. You wonder “what am I really doing here,” especially in the producer's seat. You basically have a group of people who have an idea. I'm not writing those songs, but in some cases I'm helping with parts or overall crafting. In some cases I’m writing bits, but it's their thing. I have my hands in there, making sure that it comes out the best way possible, but my role is really kind of like a musical HR department. My strength is music and my strength is working with people. This is not a comment on the Chisel or High Vis or Charlie or anything—they rule at what they do—but I love working with people who are a bit more rough around the edges in terms of how they can play. That's where I can help the most. The creative pursuit is daunting because until you're in it and you're used to how ideas change, it just feels like there's only wrong answers when what you do isn't coming out. It’s like the first time you tried to play that instrument you thought, “Why doesn't this sound like when my favorite person does it right?” I see my role as a person through which you can get a little bit closer to how you want the thing you're making to sound. **When I think about you as a producer, I think of something like the handclaps on “All Along the Uxbridge Road”—this pop-forward adrenaline burst.** That was me, yeah. \[*laughs*\] **You’re talking about producing music that’s rough around the edges in its approach. What I hear on the records is this anthemic glow-up that expands the sound beyond what you might hear when the band plays a show. Do you feel like that’s an accurate portrayal of what you bring to the table?** I do feel like that is what I can contribute. I think there's a two-way street of being in the producer's chair…really it’s a four-way junction. Part of that relationship is you either take somebody who can do everything and what you what you have to do is focus those ideas into something that's readable and great because every virtuoso can play forever. We've all seen YouTube videos of people shredding and doing amazing things, but honestly they haven't released a really catchy song ever. Or you get somebody who has all of that perfect ambition and can't get it over the line and you just say “actually, all you need to do is this this and this and here's how we arrange your puzzle pieces in a new way so that you can do it.” And then the third thing is the technical aspect about how to use sound. In the recording studio, you are of course registering recorded music, but you have to make sounds make sense. That is something that I do also, but I think that's something that more technically-minded producers are really brilliant at—people who understand how that puzzle of frequency and sound and this machinery fit together. **What can you tell me about the new High Vis album you’re actively working on?** We’re just getting started. We’re like eight days in and it's going great. Making *Blending*, the last High Vis record, I see a lot of parallels with them and Fucked Up. That’s why it’s easy to work with them and it’s an easy place for me to go from being in a hardcore band that became an indie band that became whatever the next chapter is and will be. So they were in this place where their ambitions were skewing towards pop but they wanted that bite—that sting of hardcore that they came from. I don't expect anything that I work on—it’s not guaranteed out there—but I when we finished with *Blending*, I was like, “Wow, this is a great record,” but I had no expectation because who knows, they didn’t even have a label when we finished it. Of course it blew up so now we’re doing that next phase. It's not even the difficult third record thing, it's just like they're also prepared for this journey now that they've been on the road, they're playing great and their ideas are just as big as they were from the last time and they're just really comfortable making decisions as a band. Even with with Charlie's record, you could barely get him to sing or put a clap or a harmonica on something, but once you start making those leaps the subsequent ones get easier and easier and you're willing to take a chance. You start to trust your intuition. **What’s Fucked Up got going on?** Fucked Up has a ton of stuff in the in the pipeline. I won't I won't give away any surprises, but we're always working on stuff. Anytime Mike \[Haliechuk\] and I are in the same city, we get into the studio together and get material down. Fucked Up, as much as we tour have toured and as much as we've released these statement records, I think that the thing that sustains the band is this flow of creativity and this flow of material coming out, because it's staggering. Mike does all the songwriting, and it's totally mind-boggling how many ideas he has all the time. There's always the next thing and the next thing and the next thing. **You live on a boat. Why?** When I was moving here, we were exploring living options, and our best bet when I was first coming over was gonna be a flat above a grocery store in Southeast London. It seemed fine. We were going to have a flatmate—some indie kid, some stranger that was a friend of a friend of a friend. When we were living in Canada, we had our own place, and we'd been married. It all seems very weird when I'm talking about deciding to live on a boat, but it seemed weird to have to go from living in our own flat as a couple to living in a flatshare in tiny circumstances. My wife had a friend who was living on a narrowboat. He and his partner were having a child and they decided that they didn't wanna have the child on the boat, but he didn't wanna get rid of the boat. So he just put a message out on Facebook or something that said, “Does anybody wanna live on this thing for a year just so I can decide whether or not I really wanna sell it?” And my wife got in touch and she pitched it to me as I was doing some gigs. I was driving over the Rockies and I was like, “Look, I can't really talk right now. I’m about to go over the Rocky Mountains. There's no cell phone service and I really should get off the phone.” She said, “OK, well, we have to decide about this thing because somebody else is gonna take it or we have to say yes to this flat. What are we gonna do?” She’d gone to see the boat and said it was great. I still can’t tell if I was feeling like I don’t care or if just wanted to get off the phone, like being impatient for no reason, but I just said fuck it, why the hell not? On paper, it was like live in a crappy flat and pay a lot of rent to live with some stranger who you might hate, *or* pay next to no rent and live somewhere that's basically the same size as a small flat and have an adventure at the same time. I was already feeling like I was on an adventure at that point, so I just said yes. And then I remember going to the airport when I first moved here and my wife picked me up from the airport, and she goes, “Do you need to use the toilet?” And I was like, “That’s a good idea. I’ll go do that.” She said, “Good, because this is going to be the last time you do that comfortably.” So that's sort of a prelude to a journey of discovery and exploration of how to live with a lot less and in a completely different way. When you live on a boat in the way that we were at that time, you do what’s called continuous cruising, which means that you can only stay in one place for two weeks or less. After those two weeks, the rule is you have to move at least one mile out of the postcode that you’re in, and you have to do at least 35 miles in a year in one continuous direction. So you have no fixed address. It's basically like sleeping in a car. There's limited plumbing. Our first boat had very poor electric. When sundown happened, it was candlelight time and hope your laptop battery lasts. The plumbing was shot. But it was kind of romantic, you know what I mean? Like I could give you the sob story version where I was miserable and angry all the time, or I can give you the big picture: Ultimately we liked it, so we stuck with it. Now we’re on a boat that we really like, which is much more comfortable and has plumbing and lights. So yeah, I went from being an entitled egomaniacal fucking punk musician that was in a popular band to literally carrying buckets of my own shit around the sewers of London. ### punk this week: parsnip’s stellar new album + 5 more URL: https://see-saw.fun/punk-this-week-parsnips-stellar-new-album-5-more/ Last updated: 2024-04-26T18:08:52.000Z It’s Friday, April 26, and this is Punk This Week. It’s see/saw’s rundown of the new punk records that are worth a listen. The latest installment features new albums and singles from Parsnip, Geo, Diode, Lambrini Girls, Busted Head Racket, and more. (Geo Diode is my favorite Pokémon.) The full post is available to free subscribers. Starting next week, Punk This Week posts will be available to paid subscribers (and [those who barter](https://see-saw.fun/bartering/)). [Please consider subscribing](https://see-saw.fun/about/) to help grow this reader-supported endeavor! --- **Parsnip:** [***Behold***](https://upsettherhythm.co.uk/parsnip.shtml?ref=see-saw.fun) **\[Anti Fade/Upset the Rhythm\]** [Behold by Parsnip](https://parsniphq.bandcamp.com/album/behold?ref=see-saw.fun) Lenny Kaye better bend the knee, because there isn’t a better contemporary post-Nuggets ‘60s garage pop album than Parsnip’s *Behold*. This band has released some incredible music up to this point, but here, they’ve leveled way up. There’s the way “Turn to Love” radiates joy, with minimalism that gives way to a beatific full-band drop with handclaps. There’s the full-on vintage organ-laden chug of “Clear Blue Sky” (which they told [*Paperface*](https://www.gimmepaperface.com/post/parsnip-despite-whatever-the-world-throws-at-us-we-are-still-at-it-it-is-a-testament-to-our-end?ref=see-saw.fun) was inspired by the Dovers!). There’s the gorgeous chanted outro of “Kutastha,” inspired by Paris Richenson’s actual practice of meditation and chanting. It’s a beautiful moment because it still earnestly sounds like Parsnip music, not the appropriative or orientalist pastiche that so many old psych rockers have fallen into. It’s a harmonium drone ringing in a slight shift for a band in their new and best era. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/04/a3961329990_10.jpg) --- _This post is for subscribers only._ ### playlist: after cindy lee’s diamond jubilee URL: https://see-saw.fun/playlist-after-cindy-lees-diamond-jubilee/ Last updated: 2024-04-22T13:17:12.000Z The reigning listening event of the season didn’t come from a one percenter dominating the charts—the tortured poet cowboy types currently buried in the money DSP bosses reluctantly agree hand over. It’s not even available on said platforms or to purchase in a record store (yet). Cindy Lee’s *Diamond Jubilee* is a two-hour opus that’s currently only available as a [Geocities download](https://www.geocities.ws/ccqsk/?ref=see-saw.fun) or on [YouTube](https://www.youtube.com/watch?si=6bVn2BwB%5FPnWvbb2&v=%5FLJi5na897Y&feature=youtu.be&ref=see-saw.fun), and thanks in large part to Andy Cush’s [glowing recommendation](https://pitchfork.com/reviews/albums/cindy-lee-diamond-jubilee/?ref=see-saw.fun) on Pitchfork, this is the record that’s been dominating my every social media feed, befuddling the Facebook crew and electrifying the music journos over on X. I’ve taken it on some night drives and long walks. It’s an incredible record to pick up and put down—worth the hype just because of how many different places it goes. This playlist won’t get into any of the decades-old touchstones on *Diamond Jubilee*—the Brian Wilsons, girl groups, or early ’00s indie titans. Instead, I wanted to think about somewhat recent records I find myself wanting to reach for after listening to *Diamond Jubilee*. These are songs with psychedelic or garage pop leanings, some records that are layered and bizarre, some that are pretty simple but take me to a similar zone. These are the songs to enjoy as a chaser to Cindy Lee’s very good two-hour sitting. It’s [embedded below on a browser](https://see-saw.fun/playlist-after-cindy-lees-diamond-jubilee/?ref=seesaw-newsletter); otherwise here’s a [link](https://bndcmpr.co/a3fd1c71?ref=see-saw.fun). Palberta: She Feels That Way (Acoustic) The Drin: Tigers Cage Zero Percent APR: Midnight Soup Activists: Stormy Mornings Shells: Warm Dub No Joy: No Summer XV: Pen Peace de Resistance: Boston Dynamics Marbled Eye: Another Year Aquarian Blood: Finger Echo W-X: [Clean It, Glen](https://www.youtube.com/watch?v=LPpSClI4vTk&ref=see-saw.fun) \[not on bandcamp\] SPLLIT: Cloaking Lewsberg: Going Places Parsnip: The Babble Display Homes: Tunnel of Doubt The Cowboys: Prized Pig Ar-Kaics: This Time Tonight Famous Mammals: Let the Light In Kitchen’s Floor: Doomed EXEK: Sen Yen for 30 Min of Violin Pinocchio: My Time Vol. 1 I.L.L.O: Megalodon Straw Man Army: Simple Cure Silicone Prairie: Neon Moon Rebel Kind: Baby Baby Baby Feeling Figures: Seek and Hide Mosquito: The Originol Soundtrack Glittering Insects: My Diminishing Return ## Sign up for see/saw a punk and rock’n’roll newsletter by evan minsker Subscribe Email sent! Check your inbox to complete your signup. No spam. Unsubscribe anytime. ### punk this week: we need to talk about billiam + 5 more URL: https://see-saw.fun/punk-this-week-we-need-to-talk-about-billiam-3-more/ Last updated: 2024-04-19T13:05:24.000Z It’s Friday, April 19, and this is Punk This Week. It’s see/saw’s rundown of the new punk records that are worth a listen. This time we’re (“*we’re*”) looking at six individual songs worth your time, including tracks by Billiam, CRAN, and Kid Congo Powers. The full post is available to free subscribers. All April, everything’s free. In the future, full Punk This Week posts will be available to paid subscribers. Please consider subscribing to help grow this reader-supported endeavor! --- **Billiam: “**[**Where Is Jackson Reid Briggs**](https://hiimbilliam.bandcamp.com/album/where-is-jackson-reid-briggs?ref=see-saw.fun)**?” \[Legless\]** [Where Is Jackson Reid Briggs? by Billiam](https://hiimbilliam.bandcamp.com/album/where-is-jackson-reid-briggs?ref=see-saw.fun) It’s time to put an official stance out in the world regarding the work of [Billiam](https://hiimbilliam.bandcamp.com/?ref=see-saw.fun). Here we go: There’s a lot of it, and it’s very good! Earlier this year, the wildly prolific Melbourne punk’s album [*Corner Tactics*](https://hiimbilliam.bandcamp.com/album/corner-tactics?ref=see-saw.fun) found its way out of shipping container purgatory and came out on Under the Gun and Cow Tools. It’s lo-fi music with 8-bit keyboard lines with an oddly vulnerable song about Shadow the Hedgehog. (I reached out to see what Billiam thinks of the report that Keanu Reeves [will voice Shadow](https://variety.com/2024/film/news/keanu-reeves-sonic-the-hedgehog-3-shadow-1235971913/?ref=see-saw.fun) in the next Sonic film; no response just yet.) It’s wildly catchy and essential punk music from young Billiam, who also plays in [Disco Junk](https://discojunk.bandcamp.com/?ref=see-saw.fun) and seems to release tons of music both inside and outside the confines of the Billiam project. The new single is called “Where Is Jackson Reid Briggs?,” an aggro track about the dude from Split System. (Again, [shout out the new Split System album](https://see-saw.fun/the-best-punk-records-of-2024-january-march/)!) It turns out that Briggs is out in the streets, but Billiam’s where he always seems to be: putting scuzzy power chords to tape. The track is fast and shaggy in a way that’s both tight and threatening to fall apart at every moment. Only four months into this calendar year, I’ve received 10(!) alerts from Billiam’s Bandcamp noting that there’s something new from Billiam. It’s tempting to start to tune it all out or wait for a full album to tune in. What “Jackson Reid Briggs” and its B-side “Shane” prove is that we should always be clicking on the Billiam notifications. \[bzzzt: Bandcamp notification\] Whoa, another one! (This last bit was a joke about how many times Billiam puts out music. Billiam!) ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/04/a3757168887_10.jpg) _This post is for subscribers only._ ### barcelona punks enemic interior on their desperate, dreamy post-punk URL: https://see-saw.fun/interview-barcelona-punks-enemic-interior/ Last updated: 2024-12-04T23:51:08.000Z The members of [Enemic Interior](https://enemicinterior.bandcamp.com/?ref=see-saw.fun) have shared the lyrics from the songs of their third self-titled EP, but the Barcelona punks aren’t sure the English translations from the original Catalan convey their intentions. Perhaps they were concerned about words like “the magic of blood” or “a lance in my chest.” Paired with the knight on [*Enemic Interior III*](https://enemicinterior.bandcamp.com/album/enemic-interior-iii?ref=see-saw.fun)’s artwork, listeners might assume that they’re LARPing through the distant past. “I’m not sure it’s only this dungeon thing,” bassist Sergi Vilà Bori said on a video call. “It’s this dark feeling buried under a lot of different layers and this moment of clarity when you access it. Your body knows this—this access to a pure truth about yourself.” If there’s a central message in these hardcore-forward post-punk songs, it’s right in the translation of the band’s name—they’re shouting about the inner enemy. [Enemic Interior III by Enemic Interior](https://enemicinterior.bandcamp.com/album/enemic-interior-iii?ref=see-saw.fun) Eduard Bujalance, Sergi Algiz, Sergi Vilà Bori, and initial drummer Uriel Garcia didn’t arrive quickly at the band’s sound. “It started as this very organic thing, like the first five songs took a long time to come together,” Vilà Bori said. Once it all clicked into place, Vilá Bori was surprised when Valencia label FlexiDiscos and Under the Gun in L.A. wanted to put out their first record. “We were like...*what*,” he said. “We started to play punk shows here, and I was very surprised by the welcome from the scene for such a fresh project.” Vilà Bori says the lyrics connect because of their stripped back, central sentiment—that everyone has a shadow to wrestle with. “Essentially they’re emo lyrics,” said Teddy Baker, who joined the band on drums for their most recent EP. “That’s something that gets said a lot between the four of us, but obviously it doesn't sound anything like an emo band.” They’re also always talking about their attempts to make each song sound “more desperate.” [*Enemic Interior III*](https://enemicinterior.bandcamp.com/album/enemic-interior-iii?ref=see-saw.fun) is out now. The band are in the final days of a monthlong European tour. When we spoke in February, they noted it would be a big change from their normal routines; Vilà Bori does graphic design, Baker does research and analysis for non-governmental organizations, Bujalance did work at a medical center, while Algiz ships records and produces commercial music. “For me it’s super crazy—I’ve never toured more than four days,” Vilà Bori said. “And I’ve *never* toured,” Baker added. Go see them if you can. ![Enemic Interior](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/04/enemic-interior-vert.jpg) **Enemic Interior, photo courtesy the band* --- **What were some of the touchstones that helped inform the sound you were all reaching for?** Sergi Vilà Bori: I would say the three of us, like Edu, Sergi and I, and afterward when Teddy came, we all valued a pop heart in the sense of melody. It’s not strictly a hardcore thing—you can really see the heart of pop in the songs, these melodies that stay with you. This is intentional. We all love pop records by the Cure. Edu, for example, was really into dark fantasy, dungeon synth, this kind of stuff. Sergi has another project called [SDH](https://semioticsdepartmentofheteronyms.bandcamp.com/track/talk-in-dreams-m-r-m-remix?ref=see-saw.fun), which is basically synth pop. He’s also into a lot of different industrial experimental stuff. I would say I’m the more limited one in the sense that I don't investigate that much. We all love Blitz records. Teddy Baker: I remember the thing that you guys said to me when I joined was the thing you were talking about was the second Blitz record. That was one of the big points I think. SVB: I also love the Marked Men records. Jeff Burke is an idol—the way he sings and builds up songs. There’s this band called Lost Balloons he did in Japan, which is like the poppiest stuff he did. I’ve been listening to a lot of flamenco music and a lot of traditional Spanish music as well. Everyone has a very broad view. We are not punk fanatics in that sense. [Enemic Interior by Enemic Interior](https://enemicinterior.bandcamp.com/album/enemic-interior?ref=see-saw.fun) **Are you thinking about doing a full album?** SVB: We haven’t decided yet. It would be nice to make an album—it just feels natural, no? But then there’s also like this feeling of “fuck off, we make EPs.” It’s faster, and it’s just another way of doing it. Since the beginning, I said that the only rule I set when I got involved in the project was to avoid long songs. The music I admire the most is less than two minutes, always. Like when we’re writing, I’m like “Can we skip this part? Maybe we can avoid the repetition of it?” Maybe if we do an LP, it would be like a 15-minute album. What I really love about this project from my side is that things are very simple. Recording doesn’t take very long. TB: When I think about the EP/LP thing, I think about like, the band that was coming to mind is Warthog. Warthog only released EPs, and they're all unbelievable. A perfect band, they’re so fucking good. You don’t necessarily need to make it long just because that’s what everyone else does. ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/04/enemic-interior-art4.jpeg) **Who does the artwork? How did you end up with this look?** SVB: David Soto is a friend from Vic, a small city about an hour from Barcelona. We met him maybe 10 years ago, because in that small town, they used to do this festival for bands who hadn’t released an album yet. It could be any different style. David was collaborating with the festival on the artwork. He’s not a professional illustrator or anything. He works as an electrician, but he owns this huge photocopier. He does everything at home, and he normally takes around six months to deliver artwork. When he delivers one, it’s like, “OK David, start working on the next one. We’re going to record in three months, so I guess we’re gonna need your artwork in six.” We really wanted something like this dungeon feeling—a kind of dark fantasy vibe. Every one he’s done is better than the last one. TV: It’s almost like a Pokémon. It’s evolving. It’s getting bigger and better each time and eventually it’s going to be like this massive knight doing something mental. **Is there anything about your politics you want listeners to understand?** TB: I don’t think the lyrics will ever veer into political territory, at least not overtly. I don’t think it’s that kind of band, but that’s not to say that we don’t all have our own own positions on things. We’re not massively active on social media, and this is our second interview ever. We’re not putting our views out there all the time, but we’re certainly not afraid to do that. The most recent relatively political thing we did was we sold a pressing to raise money for aid to Gaza. If we think it’s something worth doing, we will. SVB: I think the lyrics are not explicitly political in that sense, but they really speak about human nature. In the last record there’s a song called “Pilars De La Decadència,” and it’s not super obvious, like a song about murdering a cop, you know? It goes to a deeper level, like a feeling about how we relate to the world. On the second record, there’s a song called “La llum,” which speaks about the total cataclysm of civilization and how I was dreaming about it. I felt terrified about a nuclear apocalypse. But like Teddy said, I think it’s more about actions and less about the lyrics. Nobody was saying or doing anything in our community and we were like, we should do something. Then we did like this 7" thing and there were people writing emails to us: “You are supporting Hamas.” A lot of crap like that. I was like, this is a good sign. This means we're doing something good, you know? Then we got an email from a booker from our city who wanted to book us a show for November for like 100 people, but then he was like, “You cannot play anymore for the whole year in your city.” I was like, the fuck man! So yeah, I think it’s more about what you do than what you say. [Enemic Interior II by Enemic Interior](https://enemicinterior.bandcamp.com/album/enemic-interior-ii?ref=see-saw.fun) ### punk this week: woodstock 99’s AI hardcore meltdown + 4 more URL: https://see-saw.fun/punk-this-week-woodstock-99s-ai-hardcore-meltdown-4-more/ Last updated: 2024-04-26T02:41:13.000Z It’s Friday, April 12, and this is Punk This Week. This is…a self-explanatory recurring feature on [see/saw](https://see-saw.fun/about/): a rundown of the new punk records (albums, EPs, singles, demos, loosies, or whatever) worth a listen. Technically this is covering more than just this week’s releases since last week was the [best of the first three months of 2024](https://see-saw.fun/the-best-punk-records-of-2024-january-march/). The full post is available to [subscribers](https://see-saw.fun/about/#/portal/). All April, everything’s free; in the future weekly recs will go up behind a paywall. Feel free to [kick in the $4 per month](https://see-saw.fun/about/#/portal/) to help grow this reader-supported endeavor. --- **Woodstock 99:** [***99 Ta Life***](https://sorrystaterecords.bandcamp.com/album/99-ta-life?ref=see-saw.fun) **\[Sorry State\]** [99 Ta Life by Woodstock 99](https://sorrystaterecords.bandcamp.com/album/99-ta-life?ref=see-saw.fun) It is a truth universally acknowledged that the beefiest, burliest punk bands are all from Cleveland. Woodstock 99 makes the hardcore equivalent of Zangief’s spinning double lariat—just muscle flying recklessly in every direction. There’s obviously a goofy streak to this band. They named themselves after the hell festival and have songs called “I Kissed a Cop” and “Megan Thee Stallion of Saints,” after all. *99 Ta Life* peters out in the final track with what sounds like bad sampling but is actually just a bad AI-generated stunt. They [have a whole interview](https://mailchi.mp/sorrystaterecords/april-14-1178954?utm%5Fcampaign=later-linkinbio-sorrystate&utm%5Fcontent=later-42250417&utm%5Fmedium=social&utm%5Fsource=linkin.bio) about why they went that route in a recent Sorry State newsletter. Their reason for letting robo-Jesus take the wheel was that the original ending of the song was “boring.” Unfortunately this one is, too. The rest of the album rules, though! ![](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/04/a2259655342_10.jpg) _This post is for subscribers only._ ### at the show: a marked men matinee in minneapolis URL: https://see-saw.fun/at-the-show-a-marked-men-matinee-in-minneapolis/ Last updated: 2024-04-16T19:45:46.000Z **1\. The perks of 3pm doors** God, do I love an early show. Doors at 3pm means it’s early enough to drink coffee on the rainy drive over, grab lentil dal at lunch, and still have a spot for a $4 can of Olde Style at the gig. It’s early enough to spend the afternoon catching up with a friend. It’s early enough that it’s still light out on the drive home. It’s early enough that you can have an entire night afterward where you still live within the buzz of adrenaline from seeing the Marked Men absolutely demolish a small room. **2\. Community by design** Tickets to one of the two Marked Men reunion shows this weekend had to be purchased in-person at Extreme Noise. (Endless thanks to Zach Kolden for physically waiting in line and then triumphantly texting me a photo of our physical tickets.) It meant the room brimmed with familiar faces. The opening acts were locals, who made a point to mention how excited they were to get to see the Marked Men. **3\. Makin’ Out’s vulnerable, powerful indie pop** [Caitlin Angelica](https://www.instagram.com/caitangelica/?hl=en&ref=see-saw.fun) was tuning her guitar, speaking about losing her partner August Golden in the Nudieland tragedy last year. She was sharing songs defined and framed by that loss, and her bandmates added electric guitar heroics and indie pop jangle—not to mention the heft and hubris of an absolutely wild drummer—to music previously intimate and [stripped back](https://caitlinangelica.bandcamp.com/album/now-i-know?ref=see-saw.fun). It’s early days for Makin’ Out, who signed off by announcing they’re in the midst of a lineup transition. The songs are already there, and with time, Angelica & co. could develop into something even more special. **4\. Holy shit: Buio Omega** Did guitarist Nikki Derella immediately win me over with their bootleg Manami Toyota shirt? Duh. [Buio Omega](https://buioomega69.bandcamp.com/?ref=see-saw.fun) is a five-piece wrecking ball of a hardcore band. Frontperson Greer screamed up front in a silk red nightgown with wide feral eyeballs, introducing their song “[I Wanna Crash My Car (On Purpose)](https://buioomega69.bandcamp.com/album/diva-moment?ref=see-saw.fun)” as her mom’s favorite by the band. An unreal set that warranted an instant purchase of their recent EP, which probably would’ve been on the [big Q1 list](https://see-saw.fun/) if I’d heard it sooner. **5\. The unbeatable Marked Men** I’ve loved the Marked Men’s records, I’ve loved the members of the band’s other bands, and still, I wasn’t prepared for how airtight and relentless this show was. They’d play four songs in a row without a pause—a Jeff Burke song, a Mark Ryan song, a Jeff song, a Mark song. They’d play one of my favorites and chase it with another. It was incredible to be in a small room where people were excitedly screaming out requests like it was a Neil Young theater show. People were shouting the call-and-response on “Sully My Name.” Seeing the Marked Men in 2024 is a solid reminder that this band was more than power pop with punk rock bite—it’s that rare rock’n’roll combination of multiple bandmates writing and performing at the highest possible level. “This is a new one,” Joe Ayoub announced to a room briefly rendered completely silent. “Just kidding.” Everybody laughed—a jolt and a release. I’m still thinking about what it would mean for this band to keep doing it. **Setlist:** ![The Marked Men setlist on April 7 at Cloudland Theater in Minneapolist: A Little Time On the Outside Don’t Lose It A Little Lesson It’s Not a Crime Sully My Name We Won’t Talk About It Sophisticate Wait Here, Wait for You Too Pretty to Fuck She Won’t Know Going Crazy Ditch Red Light Roomers Someday Fix My Brain](https://storage.ghost.io/c/31/ca/31caa30b-1a72-4fa1-a48d-e09f6cd6259f/content/images/2024/04/IMG_0830-1.jpg) ### the best punk records of 2024: january - march URL: https://see-saw.fun/the-best-punk-records-of-2024-january-march/ Last updated: 2024-04-05T19:12:31.000Z Looking back at the first three months of this year is an oddly loaded way to start this newsletter. There’s a version of this paragraph that reads like the overwrought personal essay intro of every single recipe on the internet, but I’ll spare you the autobiographical beats of my winter. One nugget: Before I got the chance to tell her about it, my Wisconsin therapist heard what I’d been going through from reading one of the many “RIP Pitchfork” news stories. Suffice to say it hasn’t been chill over here, though it has been nice to spend more time with [the music I love](https://see-saw.fun/doing-a-newsletter-about-punk/). In February, my friend Kevin and I drove the three hours round-trip out to Minneapolis to see local crazy punks Neo Neos headline this new small venue called Cloudland. I picked up the band’s album on Under the Gun from Extreme Noise and loved it, but I’d never seen them live. The singer, this gremlin named Connie, skulked around the front of the crowd, moving like he was actively being electrocuted. He spilled beer all over someone’s jacket they left on the floor before putting the can in his pants, pouring beer down his crotch, and then yelling “Kobe!” before chucking the half-full beer at some dude in the crowd. (Half full! Things can’t be too bad over here.) The band was otherwise airtight, ultra fast and laser precise while their frontman gleefully melted down. They closed with a wonderfully sloppy cover of the Kinks’ “Victoria.” On a four-band bill, Neo Neos played the least and packed up. I walked to the car energized, beaming, shaken loose, vibrating from cranked amps that overwhelm in the best way. It’s corny to call music therapeutic (no disrespect to music therapy), but there’s no denying the revitalizing impact of wild, blown out rock’n’roll. This is why I became obsessed with music in the first place: Going on deep dives in Bandcamp, finding some real heads’ YouTube mixes, watching a brand new band and wondering if they’ll be around for a while or flame out within the year, hearing something awesome and laughing and saying “holy shit” to nobody at all. Future installments of this thing will have blurbs recommending a couple new releases; there will be interviews, essays, and other stuff, too. (Eventually those will go behind a paywall; read the [intro post](https://see-saw.fun/doing-a-newsletter-about-punk/), there will still be free things to read.) To give an idea of what to expect, here’s a special first edition on 20 records that shook me back to life this winter. **Abe and the Shits: “**[**LOVE**](https://abeandtheshits.bandcamp.com/album/demo-vol-1/?ref=see-saw.fun)**” \[self-released\]** [DEMO vol.1 by Abe and the Shits](https://abeandtheshits.bandcamp.com/album/demo-vol-1?ref=see-saw.fun) Japanese punks Abe and the Shits have a perfect band name, and on their first demo, they stick that landing with an unrelenting banger. On “LOVE,” vocalist KRS gives an unhinged wail about money, money, money—a “love letter” in hard sarcastic quotes to capitalist excess. **Alien Nosejob:** [***Cold Bare Facts***](https://aliennosejob.bandcamp.com/album/cold-bare-facts/?ref=see-saw.fun) **\[Anti Fade\]** [Cold Bare Facts by Alien Nosejob](https://aliennosejob.bandcamp.com/album/cold-bare-facts?ref=see-saw.fun) The prolific nature of Jake Robertson’s Alien Nosejob means each record is a grab bag. I prefer it when he goes a little harder. The vintage garage rock LP he did on Goner was alright; the hardcore 45s and AC/DC worship were tough to follow. This one’s on the heavier side, two songs based on true accounts of cold-blooded police violence. **Antenna:** [***Antenna***](https://antennnnna.bandcamp.com/album/antenna-2/?ref=see-saw.fun) **\[Urge\]** [Antenna by Antenna](https://antennnnna.bandcamp.com/album/antenna-2?ref=see-saw.fun) At last, a post-Royal Headache project worthy of Shogun’s unbelievable talent. (I did not love Finnoguns Wake.) Sydney’s Antenna put muscle behind their chugging, breakneck power pop riffs—catchiness that careens near out of control. The showstopper is “Lost,” a genuinely beautiful song buoyed by heartland rock synths and one of Shogun’s best vocal performances ever. **AWFUL:** [***4 SONGS***](https://deluxebias.bandcamp.com/album/awful-4-songs-db-26/?ref=see-saw.fun)**\[Deluxe Bias\]** [AWFUL - 4 SONGS DB#26 by AWFUL](https://deluxebias.bandcamp.com/album/awful-4-songs-db-26?ref=see-saw.fun) A truly impossible-to-search band with an excellent lo-fi punk tape on Deluxe Bias. Their blown out sound is so elastic—the bass is probably the best thing here, bouncing all over the place. The shouted vocals are expressive, and the band is unbelievable. These four are wall-to-wall flawless; I’ll take another 20 if you’ve got ’em. **The Chisel:** [***What a Fucking Nightmare***](https://thechisel.bandcamp.com/album/what-a-fucking-nightmare/?ref=see-saw.fun) **\[Pure Noise\]** [What A Fucking Nightmare by The Chisel](https://thechisel.bandcamp.com/album/what-a-fucking-nightmare?ref=see-saw.fun) This is easily the biggest record on this list in terms of public reception; improbably, it charted in the UK. An oi! band with catchy-ass songs featuring the talents of Chubby and the Gang’s Charlie Manning-Walker. This band has steadily gotten better; *What a Fucking Nightmare* includes their best songs yet. Jonah Falco’s influence as producer is once again palpable, an anthemic sound that pretties up the grit. **Dollhouse:** [***I Hate You Don’t Leave Me***](https://dollhousenyc.bandcamp.com/album/i-hate-you-dont-leave-me-2/?ref=see-saw.fun) **\[Toxic State\]** [I Hate You Dont Leave Me by DOLLHOUSE](https://dollhousenyc.bandcamp.com/album/i-hate-you-dont-leave-me-2?ref=see-saw.fun) Equal doses goth, power pop, and hardcore, the New York City punk all-stars of Dollhouse rollick through the mire on their new 7”. Michelle Caiazzo screams about toxic codependency and crippling depression, a ragged cry for help while Margaret Chardiet (Pharmakon), Hank Wood, Sasha Stroud, and Tye Miller have the time of their lives bashing out wild earworms for the severely depressed. **Elmos:** [***Elmos***](https://earthgirltapes.bandcamp.com/album/st-2/?ref=see-saw.fun) **\[Earth Girl\]** [ST by ELMOS](https://earthgirltapes.bandcamp.com/album/st-2?ref=see-saw.fun) Blown out and gleeful hardcore from down Hattiesburg, Mississippi way. These six minute-or-less jams pack so many swerves, like the time I saw a bunch of kids in Matewan, West Virginia speed downhill in the wrong lane without regard for the multiple blind curves. Elmos aren’t those kids though: [they hate cars](https://earthgirltapes.bandcamp.com/track/i-hate-cars?ref=see-saw.fun). **Enemic Interior:** [***Enemic Interior III***](https://enemicinterior.bandcamp.com/album/enemic-interior-iii/?ref=see-saw.fun) **\[self-released\]** [Enemic Interior III by Enemic Interior](https://enemicinterior.bandcamp.com/album/enemic-interior-iii?ref=see-saw.fun) On their third EP, the Barcelona band once again finds a meeting point between post-punk and hardcore. Everything here is equal measures aggro and dreamy, music with so much bark but a glossy pop center. The shout-along gang vocals on “Mágia de Sang” are gorgeous. If you thought you were done with post-punk bands, you’re missing out on this one. **The Gobs:** [***The Gobs***](https://thegobs.bandcamp.com/album/the-gobs-2/?ref=see-saw.fun) **\[self-released\]** [the gobs by the gobs](https://thegobs.bandcamp.com/album/the-gobs-2?ref=see-saw.fun) After putting out a truly absurd number of demos, Olympia’s Gobs have put out an album that’s an absolute blast. “13 tall boys” is a rager, speed punk with synths where they literally count how many tall boys are on order this evening. Elsewhere they make SNES boss fight-core and indulge in multiple psychedelic guitar freak-outs. A wildly fun record. **Grazia:** [***In Poor Taste***](https://grazia.bandcamp.com/album/in-poor-taste/?ref=see-saw.fun) **\[Feel It\]** [In Poor Taste by Grazia](https://grazia.bandcamp.com/album/in-poor-taste?ref=see-saw.fun) Grazia is a London band that makes jagged, pop-forward new wave. The debut release from Heather Dunlop and Lindsay Corstorphine features dispassionate vocals that contrast with tambourines and bubblegum riffs. They’re the life of the party, but you wouldn’t guess it from their demeanor. **I.L.L.O.:** [***10 Ill Songs***](https://illo-music.bandcamp.com/album/10-ill-songs/?ref=see-saw.fun) **\[Spared Flesh\]** [10 ILL SONGS by I.L.L.O.](https://illo-music.bandcamp.com/album/10-ill-songs?ref=see-saw.fun) I’ve had a DRINKS-shaped itch for minimal psychedelia for some time now. Onyon’s Ilka Kellner did the trick with the new project I.L.L.O. This collection is jangly and wiry and subtle. Her voice is doubled and muffled as she sings about the natural world, each track wielding a strange surprise like “Way of the Shrimp”’s recorder solo. This would be a great record for camping. **Itchy & the Nits:** [***Worst Of***](https://totalpunkrecords.bandcamp.com/album/worst-of/?ref=see-saw.fun) **\[Total Punk\]** [Worst Of by ITCHY & THE NITS](https://totalpunkrecords.bandcamp.com/album/worst-of?ref=see-saw.fun) A proper LP release of their demo means a proper outing for Itchy & the Nits’ band theme song where they demand you “scratch your bits.” Pre-packaged for a gritty animated sitcom, the Sydney band’s ramshackle garage rock brings to mind Thee Headcoatees and other *Nuggets* revivalists. “Beat it, Bozo” is an equal doses tough and hilarious demand, a shouted missive across their dance party for itchy weirdos. **Lysol:** [***Down the Street***](https://lysolpunx.bandcamp.com/album/down-the-street-2/?ref=see-saw.fun) **\[Feel It\]** [Down the Street by LYSOL](https://lysolpunx.bandcamp.com/album/down-the-street-2?ref=see-saw.fun) The four latest from Seattle’s Lysol is relentless sleaze. It’s howling rock’n’roll, tough-as-hell hardcore via glam rock. A while ago the band cited *Raw Power* as a touchstone, which comes through here, in part because Noah Earl Fowler is a charismatic beast—growling and screaming, each line just oozing personality. **Pleasants:** [***Rocanrol in Mono***](https://pleasants77.bandcamp.com/album/rocanrol-in-mono/?ref=see-saw.fun) **\[Under the Gun\]** [Rocanrol In Mono by Pleasants](https://pleasants77.bandcamp.com/album/rocanrol-in-mono?ref=see-saw.fun) “Cheap 'n' cheerful rocanrol” is how the Perth band Pleasants describe their sound, and that’s definitely the size of it. It’s power chord power pop (and I was going to write the word “party” in there but the alliteration was getting absurd) without skips. “Karaoke Booth” is an excellent place to start, where scuzzy guitars barrel relentlessly and while a synth melody injects the entire operation with technicolor joy. **RONi:** [***Demo***](https://roni7.bandcamp.com/album/demo ?ref=see-saw.fun) **\[Loopy Scoop Tapes\]** [DEMO by RONi](https://roni7.bandcamp.com/album/demo?ref=see-saw.fun) Thick scuzzy guitar and digital budget percussion give this NWI project a strange kind of intimacy. The hooks are simple and sick, and the approach has that homespun “your buddy’s demo” vibe. Meanwhile, the dude from RONi (short for pepperoni, not a wild spelling of Ronnie) sounds like Cookie Monster’s vocal cords have been coated in pizza grease. **Split System:** [***Vol.2***](https://splitsystem.bandcamp.com/album/vol-2 ?ref=see-saw.fun) **\[Goner/Drunken Sailor/Legless\]** [Vol.2 by split system](https://splitsystem.bandcamp.com/album/vol-2?ref=see-saw.fun) In their brief history, Melbourne’s Split System have yet to miss. Arron Mawson and Ryan Webb’s twin guitars provide so much melodic texture, a churning power chord base with clean elegant leads soaring overtop. Jackson Reid Briggs’ voice is unbelievable—expressive, tough, a little crunchy. **Spodee Boy: “**[**Procedures**](https://spodeeboy.bandcamp.com/track/procedures/?ref=see-saw.fun)**” \[self-released\]** [PROCEduRES by Spodee Boy](https://spodeeboy.bandcamp.com/track/procedures?ref=see-saw.fun) “Procedures” is a loosie from Nashville’s Spodee Boy with perfect balance. Minimal guitar strums rev to a full distorted chug while languid vocals become suddenly intense. Sparse and huge, an earworm roiling in dirt. **Unicorn Fart Sugar:** [***Snack of Plates***](https://hobopope.bandcamp.com/album/snack-of-plates/?ref=see-saw.fun) **\[Runny Bum\]** [Snack of Plates by Unicorn Fart Sugar](https://hobopope.bandcamp.com/album/snack-of-plates?ref=see-saw.fun) Unicorn Fart Sugar started as a pandemic project when Rhodes from the Domestics enlisted his kid Eliza to front a new band. The new EP is unpredictable and neon and all the adjectives we use for hyperpop. It’s a kid singing about noodles over hardcore riffs, saxophone bleats, and eventually, hair metal guitar heroics. **Uranium Club:** [***Infants Under the Bulb***](https://staticshockrecords.bandcamp.com/album/infants-under-the-bulb/?ref=see-saw.fun) **\[Static Shock/Anti Fade\]** [Infants Under The Bulb by Uranium Club](https://staticshockrecords.bandcamp.com/album/infants-under-the-bulb?ref=see-saw.fun) Every Uranium Club album feels like a labyrinth, where you could wander for days and keep finding new lines to obsess over. There’s rock’n’roll immediacy to the drive of “2-600-LULLABY,” while “Tokyo Paris L.A. Milan” develops gradually. The three dudes you hear singing all write their own stuff, and their disparate approaches means this thing is teeming with ideas. There are skits, too! **Vaxine:** [***Frontal Lobotomy***](https://discosenfermospunk.bandcamp.com/album/de-128-vaxine-frontal-lobotomy/?ref=see-saw.fun) **\[Discos Enfermos\]** [DE #128 VAXINE "frontal lobotomy" by Discos Enfermos](https://discosenfermospunk.bandcamp.com/album/de-128-vaxine-frontal-lobotomy?ref=see-saw.fun) This Brooklyn punk band’s sound is rooted in oi! and UK82, and with fiery solos and screams designed to amplify any pit, their cause appears to be a righteous one. “Presence of Oppression,” “Glorified Violence,” and “False Integrity” all direct their rage with a sharp point. “Frontal Lobotomy” opens with the sound of a drill and a screaming man, and who among us isn’t conditioned to love punk music about being lobotomized? ### a newsletter about punk records and the people who make those URL: https://see-saw.fun/doing-a-newsletter-about-punk/ Last updated: 2024-04-02T21:27:07.000Z Hey, this is Evan Minsker. I’m a journalist, critic, and editor. Previously I was the News Director at Pitchfork; these days I freelance all over the place. I live in Wisconsin and work in an office full of punk records. For a couple years when I was at Pitchfork, I had a column called Shake Appeal. I called it a garage punk column and wrote recommendations of underground punk, garage rock, psychedelic, and hardcore records. I’d regularly get really nice feedback from people telling me what the column meant to them. (I also got a lot of feedback from punks like “lol pitchfork wrote about this what,” which was also very welcome feedback.) But yeah the column meant a lot to me, too. My job was digging around for exciting, heavy, wild rock music made by weirdos without publicists. That’s still unreal to me. The column didn’t last because it wasn’t ever in my job description. Most of the time, I had to write it outside of work hours for no money, and it just became unsustainable. I still wrote track and album reviews with the encouragement of my friends over there, but for every record I wrote about, I was leaving dozens of others on the table. So I’m doing a newsletter to bring back that old feeling. It’s called see/saw. As a spiritual successor to Shake Appeal, it seemed appropriate to name this thing after another song by a different artist I love and have spent a lot of time thinking about. It’ll be two posts per week most weeks. The main thing I’ll put here are recommendations of new records: three to four blurbs each week about albums or demos or 7-inches or whatever. The good stuff. I’m planning biweekly interviews with the people who make this music and have some of those banked. There will be other stuff, too—thoughts about shows, older records, and obviously, bloggy ephemera. For the first month doing this, everything will be free. I’ll put the weekly recommendations behind a paywall after that, but you can still read the interviews and other stuff. The paywall is there with a hopeful eye toward doing some cool shit with this in the future. Maybe it’s just there so y’all can buy me a pizza from time to time. Baby steps, though. You can [subscribe here](#/portal/). Back soon.