Browsing Tag

pop punk

Punk Fury and Bruised Egos: Itz Namo Lets Loose in ‘SCREAMING’

Posted on 26 October 2024

At just 20, Itz Namo from Grand Rapids, Michigan, has already carved his niche in the pop-punk rock scene by blending garagey grit with earworm-worthy hooks. What started as a musical joke during his high school years has now catapulted him into the alt-pop-punk spotlight with his latest single, ‘SCREAMING’.

Echoing the antagonised energy of Fidlar, Itz Namo exhibits a deft hand in weaving augmented instrumentals around razor-sharp hooks in the visceral confession of the humiliation that comes when you shoot your shot with someone way out of your league, only to be knocked back to reality. The track is a cathartic middle finger to rejection, and with any luck, it’ll be the anthem to blast in the ears of incels who sulk in frustration and lash out with contempt when it turns out feelings aren’t mutual.

Namo’s high-octane energy and raw delivery make the track an infectiously bouncy amalgamation of alt-pop punk chaos. Beneath the brash riffs and brimming aggression, there’s a deeper emotional core for anyone who has ever found themselves on the receiving end of romantic disappointment.

With ‘SCREAMING’, Itz Namo proves that his knack for blending personal confessions with high-energy punk is a goldmine for the genre. It’s only a matter of time before more people start tuning into the infectious chaos he’s bringing to the scene.

SCREAMING is now available to stream on all major platforms, including Spotify.

Review by Amelia Vandergast

Lauren Ash scorched the pop-punk sphere with her trailblazingly vindicating earworm, Pathological

Posted on 18 October 2024
Lauren Ash

The pop-punk Billboard chart-topper Lauren Ash has been trailblazing her way through the industry since her debut single; with her latest hit, Pathological, she started a fire that could rival the inferno Dante walked through.

Nailing the Y2K pop-punk aesthetic, Ash intravenously infused swathes of nostalgia in the release, which finds an exhilaratingly cerebral way to protest against people glamorising mental illness-derived idiosyncrasies. The unfuckwithably emboldening lyrics reach their peak with, “You think I’m sexy, but I’m broken… you think I’m passionate or just irrational, no baby, I’m pathological.”

Sonically, Ash fuses the scintillating indietronica motifs of Shiny Toy Guns, the demure seduction of Garbage and hints of No Doubt with a little bit of Avril Lavigne to heighten the choruses, synthesising a sonic signature that scorches its way through the assimilative mundanity of the pop-punk scene. Clearly, she’s not here to play, she’s here to reign supreme.

Pathological will be available to stream and purchase on all major platforms from October 18th. Find your preferred way to listen via Lauren Ash’s official website.

Connect with the artist via TikTok and Instagram.

Review by Amelia Vandergast

Sleeping Through Breakfast brought comfort to the void in their alt-indie release, Black Hole

Posted on 24 September 2024

Rarely do indie folk and pop punk melodically intersect, but as proven by Sleeping Through Breakfast’s single ‘Black Hole’, which brings comfort to the void, soul-teasing sublimity transpires.

You’ll come for the convention-defying instrumentals, but you will stay for the stunningly distinct vocals, which use unique inflections to exhibit just how authentic this outfit is. With guitars that spill sepia tones in the same vein as Muzz, paired with sincerity-soaked vocals and artful embellishments, the duo make a mockery of middle-of-the-road artists with their semi-lucid, endlessly ascending motifs. It’s not just the uniqueness of the soundprint that will leave you aching for more; it’s how intensely the cosmic-hued melodies grip the heartstrings.

Founded in 2021, the alternative/art rock duo Zander Prokop and Joshua Kleiman has been orchestrating for the introspective dreamers with their already expansive discography. With their earlier releases, such as Pillowcase Studies and The A Hopeful Note EP, they set the bar high, but they always find new plateaus to aurally visit. Their latest endeavour, the People Without Faces EP, released on September 22nd, explores themes of death and the inevitable decay of the world while unravelling as a testament to the necessity of finding solace in the love that remains.

Safe to say, Sleeping Through Breakfast has carved out their own space in the alternative scene, and with ‘Black Hole,’ they attest they are here to stay. If they aren’t topping the charts with their Nada Surf-esque tenderness in a few years, we riot.

Black Hole was officially released on September 14; stream the single on Spotify.

Review by Amelia Vandergast

Razor Hooks and Synth Strokes: Unreal’s ‘Dirty Blue’ Cuts Deep

Posted on 23 September 2024

Taken from the debut eponymous LP which hit the airwaves on September 11, the seminal single, Dirty Blue, is an undeniable attestation to how the Portland powerhouse Unreal isn’t just here to play, they’re here to rip the monotony from the contemporary music scene with their razor-sharp hooks and convention-defying sonic signature.

Pairing 80s synth lines with angular indie jangle pop guitar lines and the caustic timbre of emo-adjacent vox, Unreal lived up to their moniker with their potent, alchemic cocktail that few other artists would think to pour, let alone pull it off in such an anthemically infectious way.

Imagine a synthesis of the riled angst of Taking Back Sunday, the glittery synths of a-ha, and the guitar licks of the Replacements and you’ll get an idea of the sheer innovation that courses through Dirty Blue which transcends the usual try-hard aesthetics of genre-fusion; every element serves to add more depth to the high-octane currents of emotion that courses throughout the earworm.

Stream the debut LP from Unreal on Spotify.

Review by Amelia Vanderga

Sticker – Making Mistakes: A Garage Grunge Anthem for the Fatally Fallible

Posted on 22 September 2024

Sticker’s debut single ‘Making Mistakes’ erupts as an explosive anthem for the perpetually remorseful and as a vindicating release for anyone haunted by the spectre of past missteps.

With its garage-grunge aesthetic sharply intersected by the electrifying surges of pop punk, the track from their debut EP, ‘Hello! My Name is Sticker’, cements the Nevada-based powerhouse as unreckonable evocateurs of caustic catharsis.

Formed in Las Vegas in 2019, Sticker, led by vocalist and guitarist Dennis Fija, alongside drummer Carlos Daniel Herrera and bassist Jacob Anthony Hennagir, the trio rapidly distinguished themselves in the Las Vegas circuit with a raw, fuzzy punk sound steeped in a plethora of influences. ‘Making Mistakes’ marries the nostalgic grit of Nirvana during their ‘Bleach’ era with the melodic poise of Smashing Pumpkins, layered with the contemporary edge of bands like Fidlar.

The track’s relentless energy and piercing lyrics provide a mirror to the soul, reflecting the tumult of self-criticism and the liberation found in acknowledging fallibility. It’s more than just music; it’s a frenzied, sonic purge of pent-up emotions, driven by dissonant chords, catchy melodies, and harsh vocals that challenge social norms and delve into the theme of unreciprocated emotions.

As the centrepiece of their EP, ‘Making Mistakes’ is the perfect introduction to Sticker’s gritty domain of rhythmic rebellion, proving that sometimes, the most profound reflections are found in the echoes of our errors.

Making Mistakes was officially released on September 8th; stream the single on Spotify now.

Review by Amelia Vandergast

Divert from your destination to isolated despair with IGOR’s pop-punk anthem, Alone

Posted on 16 September 2024

IGOR pierced the pop-punk veil with his latest single, Alone, which implants a self-deprecating flag in the post-breakup landscape and anthemises the ache of romantic dissolution.

Born in Ukraine, raised in Russia, finessed in America, and now based in New York and part of the LGBTQ+ community, the independent artist is unflinching in his mission to soak the airwaves in self-love. Alone is one of the most affecting sonic extensions of his dedication to uplifting his listeners from self-inflicted despair.

Alone taps into early 2000s rock vibes, offering a rhythmic rebellion that evokes nostalgia while marinating it in a euphorically projected melancholy. The battle cry for the soul pulls at the heartstrings with the universal mantra we’ve all whispered post-heartbreak, “I’ll be better off alone”. IGOR transforms this often private concession into a rallying cry for communal solace, affirming that no one is truly isolated in their feelings of destined solitude.

It’s so much more than just a journey through emotional desolation; it’s a cathartic release that prises serotonin from the grips of despair. IGOR paved the path back to embracing the empowering nature of self-reliance with the therapeutic hit dedicated to the broken-hearted looking to find their way back to themselves.

Alone hit the airwaves on September 4th, stream the single on all major platforms, including Spotify.

Review by Amelia Vandergast

SugarFüt – Mirrors: Where UK Alt-Rock Hits Its Peak Power

Posted on 10 September 2024

In their sophomore release, Mirrors, the UK’s most promising emerging powerhouse, SugarFüt, reasserted dominance on the alt-rock scene with a kinetic anthem of sheer visceral innovation.

If you’re still mourning the loss of She Burns Red after they disbanded, this Hull-based four-piece is here to fill the void with a sound that is veritably their own. With scuzzy alt-rock riffs and chameleonic progressions, which splices the frenetic with the melodic Mirrors defies predictability. Just as you start to recognise pop-punk echoes, SugarFüt storms into fresh territory with each progression, pushing boundaries with every bar, leaving heads in a subverted spin.

Vocally, the track oscillates between imploring vulnerability in the verses and soaring dynamism in the chorus, seamlessly transitioning to illuminate the emotive depth of the timbre and the dualistic pull of Jack Moxon’s vocals. When paired with the interstellar peaks of their guitar-driven crescendos, Mirrors is enough to leave your heart in your throat. SugarFüt’s ability to riff with the same fevered energy as Thee Oh Sees while capturing the immersive melodicism of Jimmy Eat World’s Futures era creates an addictive earworm which demands repeat attention.

Formed in Kingston-Upon-Hull in 2023, SugarFüt brings together frontman Jack Moxon, drummer Calvin Casey (formerly of Kira Mac), bassist Rory Myers, and guitarist Dave Measom. Their collective history in the Hull music scene and shared love for rock, pop, and punk culminates in an auditory assault that blends raw, emotionally charged vocals with gritty riffs, pulsating basslines, and thunderous drums.

By the time their debut album drops, they’ll be one of the hottest acts on the UK rock circuit. Keep them on your radar.

Mirrors was officially released on August 16 and is now available to stream on Spotify.

Review by Amelia Vandergast

Mars Playground carried an arsenal of earworm potential in his alt-pop hit, ‘S.O.S.’

Posted on 9 September 2024

Mars Playground, helmed by Chris Dixon, embarked on a bitter-sweet alt-pop exploration of angst and existential rumination with his latest track, “S.O.S.” The South Florida native melded the nostalgic beats of mid-2000s hip-hop with the crisp innovation of modern bedroom pop, set to the pace of hyper-pop while touching the raw nerve of pop-punk to craft a boldly original sonic profile worthy of drawing comparisons to the likes of Dominic Fike and Post Malone.

The icon of genre fusion synthesised trap’s rhythmic dynamism and indie’s subtle introspection to create a masterpiece of modern sound which oozes commercial potential. After initiating with percussive breaks that nod to the likes of Alexisonfire, the song subverts expectations with its euphonic pop aesthetics which envelop an emotional upheaval wrapped in a veneer of sticky-sweet melodies that cling relentlessly to memory.

As Mars Playground continues to chart a course towards critical acclaim, S.O.S. is yet another testament to the resonance of his boldly candid sound. The universal plea for solace amidst chaos sends a lifeline, woven with the threads of his vibrant, varied influences and the unvarnished truths of his journey.

S.O.S. hit the airwaves on August 28th; stream the single on Spotify now.

Review by Amelia Vandergast

Spotlight Feature: Bradley Peck extolled the virtue of living in the moment in the vibe-driven jangle pop-punk earworm, the most of tonight

Posted on 6 September 2024
Bradley Peck

Bradley Peck has once again proven his versatility and flair for tapping into the zeitgeist with his latest single, the most of tonight. Shifting gears from his earlier stylings, the Southend-On-Sea solo artist ventured over unchartered pop-punk territory to deliver an irresistibly infectious synthesis of euphoria and introspection.

In collaboration with Roman Styx, who mixed and mastered the track, Peck balanced genre-bending innovation with catchy quintessential pop-punk energy to strike the ultimate equilibrium. The earworm pulls you into its upbeat, vibe-driven universe with the jangle-pop guitar melodies which give the track an indie edge while the pop-punk undercurrent pulsates energy into the meticulously adrenalizing summer anthem.

Peck’s vocals, which never come close to slipping away from harmonised euphony, even in the sharp Blink-182 reminiscent cadences in the verses, become the ultimate vessel for advocation of seizing the day as they simultaneously evoke nostalgia for hedonistic days gone by and allow you to look through the rose-tinted glasses of youthful abandon.

Whether single transports you to the carefree days of youth or a recent memory worth holding onto, there’s no escaping the feel-good momentum perpetuated in the release that is all hooks and no breaks.

Bradley Peck Said

“I wanted to make a chill summer track that makes the listener feel young again; something everyone can relate to and feel some nostalgia with. The idea came to me after sinking a few, sitting back, looking at the night sky, and thinking how lucky we are to exist in this epoch. I wanted to convey that living in the moment is what life is all about; when the track started pulling together, I found myself experimenting with a brand-new genre for me. I’m so excited for this song to hit the airwaves!” 

the most of tonight will be available to stream on all major platforms from September 6th. Find your preferred way to listen and connect with Bradley Peck via this link.

Review by Amelia Vandergast

Marc Ambrosia rivalled Against Me in his queer pop-punk anthem, We Are Who We Are

Posted on 21 August 2024

For anyone whose true identities are continuously obscured by lenses of prejudice and misconception, Marc Ambrosia’s riff-raw pop-punk anthem, We Are Who We Are, is the definitive cure.

With an augmented-with-frenetic-exhilaration chorus and endless mantras to adopt for authentic empowerment, it is impossible to resist the intoxicating energy in the release which proves that Marc Ambrosia is just as adept at producing high-octane rock hits as he is when it comes to producing perennial pop earworms. And yet, his versatility is only the start of his expansive cross-over appeal which can easily establish the New Jersey singer-songwriter as one of the most essential queer artists of his generation.

Ambrosia’s forthcoming album, Gay & Proud, is shaping up to be as iconic as Against Me!’s Transgender Dysphoria Blues LP. The same visceral punk as fuck energy runs within the liberatingly protestive anthem which attests to how embracing your autonomy and flying your own flag is one of the most revolutionary acts a human is capable of.

In his own words, Marc Ambrosia iterated “It’s a song about individuality and nonconformity. People like to make assumptions about other people’s identities and they’re usually wrong.”

We Are Who We Are was officially released on August 16; stream the single on SoundCloud and visit Marc Ambrosia’s official website for more information on his upcoming album which is due to drop on August 30.

Review by Amelia Vandergast