[engl] Finally, these are the first RADIOACTIVITY recordings after their 2015 acclaimed SILENT KILL album. "Erased was actually written just after we finished recording that record" Jeff Burke reveals. The song sounds like an evolution of that sound, with a driven riff following the classic Burke's melanchonic melodies. Th B-side, FEAR, goes back into the dark tone of the tough and radioactive Japanese days "It was written in 2011 when I was living there, but only got recorded properly in 2018".

[engl] The wait is over, years in the making, you’re frothing at the mouth, screaming in anticipation, its got 60’s girl group sounds, a Phil Spector wall of sound, foot-stomping backbeats, jangling guitars, piano, tambourine, killer songwriting, and a top-notch, worldclass punk rock n’ roll band... The Peawees are back! Over the past 20 years The Peawees from La Spezia, Italy became a household name in the European rock ‘n’ roll scene, with 5 albums and multiple 45’s under their belt. The Peawees are today recognized as one of the strongest bands in the European rock ‘n’ roll scene. Active for over 20 years they have never ceased making their own sound; a mix of Rock ‘n’ Roll, Garage Rock, R&B, Punk, and Soul Music. Touring Europe, UK and the US, they have shared the stage with iconic punk and rock legends such as The Damned, The Sonics, The Dictators, Radio Birdman, The Dwarves, and many others. Let your ears and soul feast on songs like ‘As Long As You Can Sleep’, ‘Walking Through My Hell’, “Justify” and the lead ‘Stranger’, go on, feel it, embrace it, love it, live it... we sure do. The dirty rock n’ roll swagger, the energy that you’ve come to know and love, it’s all there. Rock n’ roll has returned, rock n’ roll has a name, rock n’ roll is The Peawees and Moving Target is the album.

[engl] Ten guitar led instrumentals Music for imagined films... Action, Western, Surf and Spy. Burn The Breeze and It Shall Be Life ride the high desert with Morricone, while Lies And Bullets is lost in the intrigue of a John Barry spy thriller. Boneyard takes matters out into the mean streets, locked in a deep Memphis soul groove. In The Barrens, The Man With No Name rides off into the badlands, while the iron church bell tolls for the dead. Challenging the wild surf, Eddie Would Go and Song For Dave take us for that one last ride. Vanished, an unreleased Radio Birdman song, is presented in the original arrangement. An instrumental version of Zeno Beach, title track from the 2006 Radio Birdman album, and a new version of Deniz’s John Wayne tribute Hondo’s Dog round out the track list.

[engl] Shantih Shantih is a four-piece band founded in Atlanta, GA. Combining rock ‘n roll with dreamy harmonies over twanging guitars, the group consists of Italian native Anna Barattin on vocals and rhythm guitar, Julia Furgiuele on vocals and drums, Anna Kramer on lead guitar, and Nikki Speake on bass.

[engl] Fast Freight is the new album from Deniz Tek with Art and Steve Godoy. Art and Steve are internationally known skateboard stars, tattooists and punk rockers. They have been in Deniz' solo band for more than 20 years. The first album they appeared on with Deniz was Glass Eye World, billed as Deniz Tek and the Golden Breed . Deniz, originally from Ann Arbor, Michigan, is known as a founding member of the Australian based band Radio Birdman. He has maintained a prolific career in both live performance and recording. His work spans multiple decades. He has toured extensively in Australia, North America, Europe, and Asia. He is an inductee in the Australian Music Hall of Fame and was voted number 7 of the top 100 Australian guitarists of all time by Australian Guitar Magazine. Fast Freight is basic, no-frills electric guitar rock and roll with a punk edge, recorded and mixed entirely on vintage analog equipment. Following the recent all-instrumental Lost For Words, and the rock album Mean Old Twister, replete with keyboard and horn arrangements, Fast Freight is a return to basic roots.

[engl] ‘Son Of The Dust’ it's maybe Movie Star Junkies most acclaimed record. The sound is pretty far from the chaotic vehemence of their early works, it has more in common with the intense, touching, dark atmospheres of songwriters like Nick Cave, Neil Young and Leonard Cohenwith a little twist of frisky rhythm n blues. A long tale in William Faulkner‘s style told in ten songs, a long journey where ancestral rites and religious superstitions take place, around three main characters: a stranger, a priest and a farmer. ‘Son Of The Dust’ is a man trying to defeat the drought, in the landscape of a country village, surrounded by ancient legends and traditions, opposing pagan rites to the fear of divine punishment. Records like this are musical movies of the mind, records the listener must decipher and make his own. The Movie Star Junkies’ ‘Son Of The Dust’ is no more and no less than a musical continuation of William Faulkner’s quest of transcendental bliss in a world made of bone.

[engl] Deniz Tek is best known as a founding member of the influential Australian 70's independent rock band Radio Birdman. Originally from Ann Arbor, Michigan, the guitarist / singer / songwriter has long been based in Australia, maintaining an active and prolific solo career as well as spearheading Radio Birdman's ongoing revival. He has also toured and recorded with many of the iconic figures of Detroit rock's greats: MC5, The Stooges, The Rationals and Sonics Rendezvous Band. Mean Old Twister is the follow-up to 2013’s acclaimed "Detroit", and will features the same band – bassist Bob Brown and sometime ATOMIC ROOSTER and SPINAL TAP drummer, Ric Parnell. Mixing of the album was supervised by noted producer and Birdman frontman Rob Younger Standout tracks include the straight ahead, high-powered guitar rockers; Burned Black and Prison Mouse; Comanche, a shimmering surf instrumental; the Stonesy ballad Table For One; and Free At Last, an all-acoustic diversion from the electric guitar attack. European version of the album features a different cutting of the master, a new layout and a digital download code.

[engl] The six-song EP features the band's take on cover tunes by Patsy Cline, Jimmy Reed, Wanda Jackson, Gram Parsons, and Glen Glenn, as well as one original (a fresh new arrangement of the Keith-penned "Meet Me on the Corner", which first appeared on Motel Mirrors' 2013 debut). Recorded and mixed entirely on analog tape at Memphis' Electraphonic Recording, Gotta Lotta Rhythm will be available as a limited-edition one-sided 12" vinyl record in Europe, with music on one side and screen-printed artwork on the other, as well as digitally.

[engl] Jeff Burke has been a solid but yet humble dark pop genius for well over a decade now. Be it with the Marked Men, the Potential Johns, or now Radioactivity and Lost Balloons, he has been penning poppy garage hits at a rate of which most songwriters can only dream on. These two new songs are the long-awaited follow-up to their 2015’ Silent Kill album, but yet they were written way before any other Radioactivity release “I think Sleep was the first song I wrote after the big earthquake in 2011, when I was living in Japan. An aftershock woke me up in the middle of the night” Jeff commented. “The song is is about dealing with the fear of death. First verse is the fear of dying suddenly, too early in life and the second verse is about the fear of dying slowly in old age” Two mid-tempo songs, that he believes somehow didn’t fit the mood of those two previous albums “The negative lyrics of Infected, in particular. I guess it’s about a relationship that was too one-sided to succeed… These two songs always felt like a set to me. I didn't want to use them on albums because I thought they sounded better as a single” And finally here they are! You can call it Punk-Rock, you can call it Garage-Punk: this is Burke’s songwriting to the top, combining grinding guitars, a lo-fi yet vibrant sound, and a unique and distinctive bittersweet singing. It’s no wonder this is one of the best and most loved bands going on right now.

[engl] What a time to be alive. We're thinking the West Coast jangle-pop trio have done an outstanding good job of upping their (and our) serotonin levels, with four amazing 7"s so we decided that the world needs all of them on one proper Collection LP. Although best known for playing in a long lineage of hardcore, punk, and metal bands, Mark Palm's focus has always been song- craft and pop sensibility. After finally embracing all that is sweet and sublime as the primary songwriter of San Francisco's shoegaze darlings MODERN CHARMS, Palm continues to explore the saccharine side of things with this latest project, SUPERCRUSH. Supercrush is currently in the studio completing work on their debut full length album. However, in the meantime the band is releasing a collection of all their previous material. For the past handful of years Supercrush has been employing a drip-feed approach to releasing new music. Every so often a new two song 7" single of power-pop excellence would appear out of nowhere. And then all would go quiet until the next pair of gems inexplicably materialized out of the silence. Here we have all four supersingles, along with two previously unreleased bonus tracks, collected as one ten song release. From the fuzzed-out guitars of 'Lifted' to the tasteful organ and glockenspiel accents of 'Walking Backwards' it's all here in one attractive package with cover art featuring an eye-catching assemblage in the colorful style we've come to expect from Supercrush. ? The two bonus tracks were recorded in the winter of 2015/2016 as part of the same group of sessions that yielded the 'I've Been Around' and 'I Can't Lie' singles. However, this pair of songs finds the band taking a temporary detour from the short and sugary simplicity of their superpop formula to explore a more spacey approach, recalling the shoegazing dreamy-ness of the outro of 'Melt Into You' from their first single, or perhaps even some of Mark Palm's work with his previous group, Modern Charms. The closing track, 'Rewind’, especially demonstrates this different approach as it forgoes percussion altogether and utilizes mantra-like lyrical repetition and the juxtaposition of layers of chaotic noise, static, and feedback over a cyclical chord progression to bring this collection to it's cathartic conclusion. Although, upon reaching that conclusion it's likely that the listener will find themselves echoing the lyrical sentiment of the final song: "I just want to start again from the beginning.” Luckily, in this case starting again is as simple as flipping the record and dropping the needle. While not a carbon copy of any one band or scene, the sounds of Supercrush will likely appeal to those with a taste for much of the "alternative" music of the early 1990's, from both North America and the UK. From Brits Swervedriver and Teenage Fanclub, to American counterparts like Sugar and Smashing Pumpkins, and even often overlooked Canadians like The Doughboys and Sloan, the common denominator is meticulously crafted pop gems, something that Supercrush also strives to achieve. Ten blissful, hook-filled, syrupy-fuzz-pop anthems; so classically '90s, yet so now.

[engl] In the past year, the band's been locked in the basement, recording their first full length album with Emil Bognar-Nasdor (Dawn of Humans, Hankwood & theHammerheads, L.O.T.I.O.N). The outcome of this collaboration broke provocative new ground for this band and we're really excited about this debut LP. Their stock in trade is a rough-hewn take on 70s rock – there are what must contractually be referred to as “duelling guitars” in the style of Thin Lizzy, bursts of slightly funky southern rock à la Lynyrd Skynyrd, bits of choppy new-wave guitar and a whole lot of appealingly clunky pop heaviness that brings to mind nothing so much as an extremely low-budget Kiss. BIG HUGE's music stuffs hip-shaking hooks and burly riffs within impeccably structured pop songs, wrapped in lyrics both open-hearted and openly political In the darkened, mangled heap of a humanity taught to sink to the bottom or exploit to the top, we can convince ourselves that we have breached beyond this pit of manmade depravity unscathed. But at what cost came that supposed glimmer of light? Are we convinced we compete in a playing field so fundamentally and institutionally unleveled? Are we patrons to a system of power sustained only by select oppression? We forfeit empathy to ambition. We estrange, digitize, and withhold from basic human connection to evade that emotional accountability - long-since unlearned - to survive in a CRUEL WORLD. In this pitchblack place, ascension is just an illusion. Our singular pursuits inch higher while we, with every transgression, dig deeper down the mortal trench. We bang at a door that does not open, and yet it begs of us to keep on knocking. But perhaps, the only way out is not over - but through. Flailing. In the thick of it all. If we let the backbone pop, the knee bend, the joints clash against all those contorting souls in our midst, what do we have to lose except the fallacy of our isolation in the dark? If the limbs go akimbo and the neck ajar, if we give - give of the whole and unabashed self - What then? Unchain the armor and thrust the body bare into that spiteful eye. With only the weapon of our pulsing vulnerability, our personhood, perhaps that which has been denied will thrash in time with all that surrounds – railing in tandem to be free. We are all we have. If the door will not open, we'd be wise to step outside.

[engl] When it comes to timeless and catchy early 80s US punk sound in these fast and modern times of ours, Rats Rest from Kansas City could take a big part of the cake. If you like the old-school hardcore punk, melodic with a raspy fucked up voice, expressive vocals, mid paced drum-hitting going fast, heavy bass lines, catchy guitar works with a hard-rock attitude / playing, alongside lyric themes about depression, drugs and death, written with a personal view, then this is your new favourite band. I’m reminded of a depressed Marked Men, a bouncy No Hope For The Kids, or a street-punk-infused Leatherface as I spin these tunes. They get it pretty much right, from the well-sung vocals to the guitar solos that occurs over some moody, incessant bass-lines, its always super catchy! So put your sticky fingers on a copy of this and enjoy it!

[engl] ENDLESS COLUMN started in 2010 when Doug Burns (OBSERVERS,RED DONS) moved to Chicago and started writing music with David Wolf (DAYLIGHT ROBBERY). The project quickly evolved into a band with the additions of Eric Watts, Jimmy Hollywood (TYRADES) and later Kevin Goggin (BUSY SIGNALS) who replaced Hollywood in the line-up. They deliver rocking lo-fi garagerock with surfy undertones. These ten songs are like all songs Doug Burns is involved in, unique catchy and memorable as possible. There are bands that are content to sit within a pigeonhole and there are bands that diligently push against the edges, rebelling against expectations to find a sound all their own. The tune, at its core a smart bit of minor chord pop, is rife with echoes of time past and present—a bit of lofi garage punk here, some surf there, darkness, and the ubiquitous, insistent thud in the drums—rearranged and repurposed so that all are present but none overwhelms another. The remaining tunes follow along the same lines, each familiar yet retaining its own sound. The whole? A gritty-yet-tasty selection from a band that continues to wow with each successive release. Endless Column deliver ten songs of surfy, dark, crude and moody lofi garage punk on their debut LP. And if you have any sense about great music, you will not drop this LP from your turntable until you can sing every word along!

[engl] Here we go again, ETT - 048. And we bring you one of the most unique and exciting punk bands in the world. ISS born in North Carolina a super group consisting of Edwin J Schneider y cuidado Ricardo Poison Ivey of the Whatever Brain Flannel family tree. If you heard the first record, you know whats up. This one expounds on the ground they already laid out. Second full-length from this North Carolina punk duo. In case you haven’t paid attention to our raving about ISS in the past, here’s the story: Eddie from Brain F? and Rich from Whatever Brains work together to construct songs out of samples from classic punk records, making entirely new songs. ISS’s songs tend to be really different from one another, but the general vibe is an extremely unique combination of dance music and punk that sounds utterly unlike anything that I’ve ever heard before. However, rather than being trance-y, ISS are very song-oriented, relying on Rich’s ability to pen a pop tune and deliver a big vocal hook, a skill which works particularly well in tandem with his bitingly sarcastic lyrics. Going along with the intertextuality of the music, the lyrics are also dense with punk references, my favorite of which smash together bits of popular culture in really evocative and unexpected ways, like the release’s title (which seems to refer to both G.I.S.M. and the Brian Eno / Robert Fripp album No Pussyfooting), or the song “Infinite Jast Last,” which gives me hope that I’m not the only person in the universe who both owns an original L.S.D. flexi and also loves David Foster Wallace. Another thing I love about ISS is the fact that they’re unapologetically funny, but unlike a lot of bands who use humor, the songs actually grow on you with repeated listens. I mean, the first time you hear “Part Time All the Time” you’ll giggle at its send-up of trendy punk fashions, but once you get past that you’ll live for the epic beat drop that sounds like it’s straight off the floor of a European dance club. In case you can’t tell from all of this description, ISS are one of the most profoundly original and exciting punk bands in the world right now, particularly because they’re one of the only “bands” that is actually responding in an interesting way to the profusion of pop- and sub-cultural content that the internet has brought us… whereas most artists I’ve heard either wring their hands about the overwhelming nature of “content” in the digital age (like Parquet Courts) or just shamelessly rip off what has come before (95% of punk bands of the past several years), ISS scrape up the half-digested vomit of information that the internet has brought us and fashion it into something that truly could not have existed before.

[engl] The Gotobeds' members come from Pittsburgh, Penn., a place notorious for keeping great local bands to itself. But the racket these guys kick up on their first album, Poor People Are Revolting, might be too strong for the city to contain. Guitarists Eli Kasan and Tom Payne spent the last few years as part of the local hardcore band Kim Phuc. Joined by bassist Gavin Jensen and drummer Cary Belbeck, they bring that energy to The Gotobeds, a rowdy, ramshackle party house of a band, built on the intersecting bedrock of post-punk and indie rock. On Poor People Are Revolting, there's something crazy going on in every room, the front porch and the backyard: a party that never dies down or seems to stop, even as the neighbors complain and the cops drive past. Working from the spirit and fundamentals of a small handful of influences — the design sense and intellectual rowdiness of The Fall; the constant evolution and masterful poker faces of Wire, from whose drummer these guys borrowed their name; the sturdy, heroic melodic sense and layered tape-loop production of Mission of Burma — The Gotobeds' members paint a dirty, driven, vulgar portrait of Rust Belt restlessness. Poor People rockets out of the gate with "Fast Trash," a great intro to The Gotobeds' boundless energy. Two-parter "Wasted on Youth/Melted Candle" starts out with a tuneful riff that ratchets past pandemonium. Every song here is an honest-to-goodness anthem, ready to sweep you up in the throttling, last-call anxiety that permeates the band's work — even through all 10 minutes of the single repetitive riff that makes up "Secs Tape." Were these guys from New York City, they'd probably be too tired and broke to play with this level of fevered, feral inspiration. With no fear of being priced out, they launch one of the greatest arguments against Big Apple living with their single "NY's Alright." Like the album's title, the song is a double-edged sword, couching the relative excitement of New York (and hearing all about it from everyone who's moved there) against the reality of people staring into their cellphones on crowded sidewalks, constantly trying to maintain a standard of living that The Gotobeds can enjoy for next to nothing. The sentiment is hammered home in the video for the track, as the band drops a Parquet Courts LP out of its sleeve, only to see it shatter on the floor. One of the strongest American rock debuts in years, Poor People Are Revolting is an obscene gesture hoisted toward anyone who'd claim that the genre is dead.

[engl] Child prodigy Buz Clatworthy's latest and greatest project! Features some very tight riffs and some of the catchiest song writing we've heard in a while. Reminds me of something that would fit right in to the NWI scene. Totally punk and totally weird at the same time. DEVO is an obvious band familiar, but there’ve been many bands since those Ohio freaks exploded the scene whose sounds ooze out of these electronic punk spasms made by R.M.F.C (GERTY FARISH, JAY REATARD, PARASITES OF THE WESTERN WORLD, and THE GIRLS and (NEW ENGLAND) PATRIOTS, the latter two of Boston, to name a few). R.M.F.C are making some really interesting punk in 2019. It keeps you guessing, and the band is tight as hell, which isn’t something I get to say about the punk I usually end up standing behind. It’s very true here though. Perhaps one of the the most sonically interesting bands currently creating noise for the plebs of our prison planet, all 11 tracks of this platter are essential. Meanwhile, the lo-fi recording is a key element to the sound, giving fuzzy guitars and bass and muddled drums and vocals. It plays well with the teen-age themes the band touches on. So if your into EGGPUNK or DEVO CORE that matter, you'll definitely dig! DEVO-CORE, EGGPUNK, Whatever - this shit bumps! You need to jam this EP NOW, because Skull Cult is stupidly amazing. I don’t care what any of you nudniks have to say, ROCK MUSIC FAN CLUB is a movement I can fuckin’ get behind!

[engl] MARBLED EYE is the latest addition to our POST PUNK / ANARCHO PUNK BAY AREA roster. And, what can I say; the bay area never disappoints us here at the ETT hq. The four guys are keenly aware of historical continuities and, from them, draw their own logical conclusions, reducing their influences down to their essential constituent elements and reassembling them into now-music for now-people. Flouting Rockist conventions with equal doses of stark minimalism and plodding fury, these post-punks resolutely refuse the "post" prefix. MARBLED EYE slithers effortlessly across genre boundaries, drawing upon myriad eras and localities. The Units, Neu!, Wire, Television, CRISIS, and contemporary sounds from the Australian garage rock subterrain like TOTAL CONTROL or INSTITUTE and DIÄT all come to mind. If you are familiar with the MARBLED EYE demo, you will be fanatic about this new EP. They lean towards the punk side of post-punk. They recall Crisis & Coitus Int. with a mix of anarcho bands thrown in there, too, and create a fascinating tension, a palpable struggle between their inner selves and their music that demands to be heard. As sharp as the band's earlier work, but you can hear that they climbed the next step with this new EP. Expertly tight and catchy drumming, cold as ice, monotone, pitch perfect post-punk vocals and a rhythm section that would make anyone jealous. This band will do great things, starting right now. A bursting, melancholic post-punk EP and the best start for us in 2017. They do the future-primitive punk thing so effortlessly well that they would have been a perfect addition to Subterranean’s roster some thirty years earlier. I could not be happier to offer you this perfect execution. Enjoy it!

[engl] Criminal Code from Tacoma, Washington, play an anthemic, sneakingly melodic mixture of post-punk and cacophony of raw wavy punk. Formed in 2011, they’ve just released several 7“s and their debut LP No Device on Deranged Records, a welcome shot in the vein (or kick in the teeth) to an increasingly ethereal genre. They took their Husker Du/Greg Sage influences and made it their own unique sound. The new 7“ harkens back to the raw, stripped down and primal intensity that characterised the early days of post punk, back when it was still considered just punk, only punk that was a little off and slightly more unsettling than usual. Criminal Code straight rip and rock with an urgency and rabid junkieunpredictability that was traded in long ago when post punk started investing wholeheartedly in synthesisers and chorus pedal collections and diverting down broodier pathways to goth and whatever-wave. Criminal Code are a perfect mess of contradictions, simultaneously full-bodied and forceful, and cold, distant and washed-out, like a hardcore heart in pale post punk skin, or vice versa. While specifically for Criminal Code’s European tour, the EP neatly coheres and expands on their Husker Du Over A Cliff guitars and post-post (post) Wipers despair/rage. Snag the EP on tour and dig hard!

[engl] Debut LP from this Bay Area, California band whose EP we raved and released about a while back, and now that they’re on vinyl full lenght, we still love them. To me, Marbled Eye sound like the perfect mix of Total Control and Parquet Courts. Like both of those bands, Marbled Eye have a way of combining a Krautrock-style groove with angular, Wire-esque post-punk style riffing and wrapping the whole thing up in great pop songwriting. While their hooks aren’t quite as big as the most memorable moments of the bands I just compared them to, I feel like that’s by design. Even though this is a LP, it’s so grooved out that it feels like a record you put on and get lost in the atmosphere of rather than putting on to pump your fist and sing along. This band is absolutely killer, and I feel like it’s only a matter of time before they’re as big as the two bands I just compared them to, so grab this LP and get in on the ground floor. The Austin band Institute pairs numbing and rigid post-punk with a Krautrock vibe, and the pairing turns out to be perversely appealing. Flouting Rockist conventions with equal doses of stark minimalism and plodding fury, these post-punks resolutely refuse the "post" prefix. MARBLED EYE slithers effortlessly across genre boundaries, drawing upon myriad eras and localities. The Units, Neu!, Wire, Television, CRISIS, and contemporary sounds from the Australian garage rock subterrain like TOTAL CONTROL or INSTITUTE and DIÄT all come to mind. If you are familiar with the MARBLED EYE demo, you will be fanatic about this new LP. They lean towards the punk side of post-punk. They recall Crisis & Coitus Int. with a mix of anarcho bands thrown in there, too, and create a fascinating tension, a palpable struggle between their inner selves and their music that demands to be heard. As sharp as the band's earlier work, but you can hear that they climbed the next step with this new EP. Expertly tight and catchy drumming, cold as ice, monotone, pitch perfect post-punk vocals and a rhythm section that would make anyone jealous. This is just a captivating listen the whole way through, the kind of record I can put on and just watch the turntable spinning, getting lost in its intricacies.

[engl] Oops, they did it again! A CÜLO and a NANCY guy in a band together? Are you serious? It's gonna be a weirdo for sure – one more time! Debut full-length from this great, underrated ETT band and I have to say I'm completely blown away. I generally have a pretty low tolerance for bubblegum-punk, rock ‘n‘ roll, but THE MUFF DIVERS, just like their brother band NANCY do it absolutely perfectly. As on their earlier releases, they still sound a lot like the Jabbers thanks to their straightforward punk arrangements and rather high-pitched vocals, though MUFF DIVERS are even sillier and more over the top than the Jabbers (this is like over the top NANCY-level silliness I'm talking about here!). At its core, this is simple, Ramones-influenced punk with a big Rock’n’roll dose, and at the end of the day could be compared with 90s bands like the Queers or 00s bands like the Spits as anything else, and while that is a very crowded tradition, MUFF DIVERS separate themselves from the pack with truly great songs. You may not want to like this, but once it's on your turntable I guarantee you'll have a very, very difficult time removing it. Drum machine-fueled punk-pop with some of the most juvenile lyrics I've ever heard, but something about the songwriting here just knocks it out of the park for me. I think the reason is that everything is so centered on the vocals. I mean, the riffs are interesting and the drum machine is actually pretty cool, but Muff Divers put those simple, catchy vocal melodies right up front in a way that reminds me of classics like Jay Reatard, the Dickies, and maybe even the Ramones. I feel like 90% of the music that I recommend here is riff-based; in other words, the songs tend to hang around guitar parts with the other instruments acting more as texture or accents, but Muff Divers are all about singing along. I also love the whole idiotic aesthetic here, and if you flipped out about that NANCY stuff we did before (or if you have soft spots for both KBD and 90s underground punk) I have a feeling you'll love what this band is putting down as well. Highly recommended for everyone!