Bart De Vraantijk (Janitors, Pneumonias, Wild Zeros, Skeptics, Teenage Hearts) is unapologetically hooked on the Ramones and can’t help but churn out raw, trashy Ramonescore and budget garage punk anthems. His latest EP, the four-track Only Fair 7″, follows this year’s Can’t Think Straight and is now out via Dirty Water and Bart’s own Roaring Blood Records. Clocking in at just seven minutes, it’s a sonic blast designed to make you want to dive straight into a mosh pit, limbs flailing and adrenaline high. Listen at your own risk.
Hot on the heels of their sole live show recording of 2024, Dan Webb and the Spiders are back with Fall Back, a fresh solo EP that returns to familiar ground. More than a nod to Autumn, the title captures Webb’s conscious dive back into classic melodic punk. Webb explains, “With the previous release, Ohio Coyotes, I was exploring new textures and experimenting with different genres. Fall Back was a chance to reconnect with that classic punk sound.” And true to his word, these five songs have a lot in common with punk anthems although they are layered with indie rock sensibilities.
The EP opens powerfully with Break Free, written with fellow Spider Chris Amaral and originally featured on their previously mentioned live album. Experience follows, showing off Webb’s knack for slow-burn songwriting that hooks you without rushing. Get Away adds a spark of energy, and On My Way turns up the optimism as Webb sings, “I got away on a sunny day, but I’m coming back for you.” Then there’s Ones and Zeros, a bittersweet closer blending melancholy with melody, wrapping the EP up on a perfect note.
With Fall Back, Dan Webb and the Spiders show that sometimes returning to your roots can be just as exciting as forging new ground. Classic, heartfelt, and with an indie twist, it is a rewarding return.
We’ve written about the solo work of Gainesville, Florida-based artist Waylon S. Thornton a few times before – in short: ramshackle and kind of disturbing, but it works like crazy – and now he’s found a kindred spirit.
Waylon Thornton (guitar, bass, drums) and Baesha Thompson (vocals) have started GiRL FiT, describing their self-titled debut EP – five tunes in less than seven minutes – as bratty riot grrrl bubblegum punk. The title track makes the relationship clear right away: “Sit down // Shut up // No one asked you // Motherfucker.” It’s lo-fi and raw, provocative and primitive, but also attractive and exciting.
The self-titled GiRL FiT EP is out now digitally and on cassette via Floating Skull.
Almost twenty years into their career, The Fadeaways are still spreading their raw and raucous garage punk around the world, as loud and wild as ever. On their latest, self-titled album, the Japanese trio – Toyozo (vocals, bass), Ozzy (drums) and Assman (guitar) – prove once again what they are so good at: mixing energy and passion with earworm melodies and catchy harmonies. Here are ten explosive guitar-driven songs full of fuzz, both originals and covers, that will do very well in the mosh pit. The opening track (1966) reveals where the inspiration comes from, the closing cover (Count Five’s Psychotic Reaction) reflects what kind of effect this record can have.
The Fadeaways’ self-titled album is out now digitally and on vinyl LP through Groovie Records.
Two years ago we raved about Coco Jumbo’s debut album Misbehavin’, and its successor Nullarbor Crank– they say it’s probably their last one – delivers just as much fun. The Narrm/Melbourne pub rock outfit – the current line-up consists of Anthony Jenkins, Christopher Staib, Edward Sims, Seamus Latto and Max Kearney – recorded eleven new songs in which garage rock and surf punk throw a party together. The contrast with the wide open space of the Nullarbor Plain – one of the most desolate parts of Australia – could not be greater, because this 35 minute ride is anything but flat and boring.
Nullarbor Crank is out digitally and on vinyl LP via Replicat.
The new album by Parisian quartet Alvilda delivers on the promise of their 2021 EP Négatif. Carried over from the EP are twitchy riffs, sticky harmonies, and caffeinated tempos, but Alvilda’s debut LP represents a melodic leap forward. Alvilda is often compared to ‘60s girl group-inspired acts Les Calamites and Dolly Mixture; while those influences are certainly present, they don’t quite paint a full picture. For one, they aren’t as clanky and clangorous as those groups sometimes got. Instead, Alvilda’s affinity for fuzzy guitars and big hooks places them firmly in the vicinity of classic power pop.
All of Alvilda’s lyrics are in French and, while I can’t understand them, that’s OK because Alvilda frequently let their guitars do the talking anyway. Both Angoisse (translation: anguish) and Mélanie feature extended instrumental sections where you typically might expect an anthemic coda or a double chorus, and the band show they’re not afraid to channel Chuck Berry on Vortex. But groups like Alvilda are judged by the merit of their melodies, and I’m happy to say the songs on C’est Déjà L’heure are uniformly fun and uplifting. Overall, C’est Déjà L’heure is an exciting document of a band showcasing their ample songwriting talent. It’s also a celebration of punk as a vehicle for harmony-not just Angoisse.
C’est Déjà L’heure is out now on Static Shock Records.
Kool-Aid is a garage punk trio from Bordeaux, France, featuring Rémi Tourneur (guitar, vocals), Romain Mayraud (bass, vocals) and Emma Savarzeix (drums). Their first studio album Straight Up is a loud and noisy one, full of variety and madness. We get ten lo-fi songs with vocals that alternately allure, grind or scream, behind a wall of heavy guitars that disappears into the rising mist. However, those who can listen through that, will hear electrifying rhythms, clever hooks and catchy la-la-la choruses. One of the standout tracks is called Chaos is Coming and that is basically what you can expect here, but it is extremely entertaining chaos.
Straight Up is out now digitally and on CD through Flippin’ Freaks Records.
Not all new music is really new, as many artists cover songs. Sometimes these are songs by their favorite artists, eg as a tribute to such a musical hero for a special reason, or they simply feel that a song deserves to be dusted and polished to reacquaint fans with great songs from the past. Other times, bands cover songs as a parody. Regardless of intent, some of those cover versions are so good or so much fun, we’d like to put a spotlight on them. Chosen from a wide range, here are – in random order – ten of our favorite covers from last month – links to the pages where you can add them to your wantlist included.
Over the course of each month, we complete a list of new covers that are good enough for this feature—in October, there were over eighty such gems. Elsewhere, the American Football (Covers) LP and the Dead Formats Vol. 3 compilation have gotten their share of attention, and we’ve already written about Ride The Wylde Mammoths (The Maharajas) and songs by Thine Retail Simps (Neil Young’s Barstool Blooze), The Surfrajettes (Spice Girls’ Spice Up Your Life) andDan Webb and the Spiders (The Nerves’ Many Roads). Still, there’s way too much to share here, but given the quality available, we really can’t go wrong with whatever choice we make.
Escape (The Piña Colada Song) || Cover: Colleen Green || Original: Rupert Holmes
Lowell, Massachusetts-based singer-songwriter/visual artist Colleen Green is the definition of cool, and everything she does exudes that quality. Even an admittedly entertaining but slightly cheesy 70s classic benefits from her halo effect. This is one of twenty-five(!) versions on The Official Piña Coladas Booger Movie Mixtape on Spotify, which celebrates the film Booger (Dark Sky Films).
2-4-6-8 Rock ‘N’ Roll || Cover: Hot Rollers || Original: M.O.T.O.
We have Chain Smoking Records to thank for taking the effort to honor American garage punk band Masters of the Obvious. On the compilation Ready! Aim! 1!2!3!4! – A Tribute To M.O.T.O. no less than forty-six(!) quite diverse acts cover songs written by band founder Paul Caporino. All-female Seattle garage rock band Hot Rollers build a party in their contribution.
Killing In The Name || Cover: Hellsongs || Original: Rage Against The Machine
Hamburg-based indie folk outfit Hellsongs started reworking some old metal favorites twenty years ago, and now they’re back with the Return of the Hellsingers LP (Tapete Records). They strip songs from bands like Motörhead, Refused, AC/DC, Green Day and Rage Against The Machine, with lyrics in common that fit well into a discourse of resistance against an era increasingly characterized by heartless nationalism, racism/fascism and egoism.
Can’t Speak || Cover: Sponge || Original: Danzig
In 1994, alternative rock band Sponge formed in Detroit, Michigan. They then scored a hit themselves with Plowed, but it was also the year of Blur’s Girls and Boys, Sonic Youth’s Bull In The Heather, Oasis’s Supersonic, Mazzy Star’s Fade Into You and Danzig’s Can’t Speak. They celebrate the 30th anniversary of “the year that alternative rock conquered modern music” with a covers album simply titled 1994 (Cleopatra Records), including the tracks mentioned.
I Tried || Cover: Miranda and the Beat || Original: Dead Moon
New York City’s Miranda and The Beat released their new full-length album Can’t Take It (Ernest Jenning Record Co./Khannibalism/Wild Honey Records) last week, which, according to the press release, “blends all the best flavors from pure punk anthems played at a chair- smashing intensity to grinding R&B to hypnotic edgy sci-fi alchemy and even some heart-smashing balladry to boot.” A successful album, with an intense cover of the Fred Cole-penned song I Tried, taken from Dead Moon’s must-have 1989 Unknown Passage LP.
Come As You Are || Cover: Layzi || Original: Nirvana
If you’ve been around young people lately, you’ve probably noticed that a surprising number of teenagers are wearing Nirvana shirts. At the same time, dreamy shoegaze is enjoying a revival. Boston-based dream pop act Layzi aka singer-songwriter Carissa Myre did the math and created a smokescreen for Come As You Are. Original tune Feel The Same serves as the flipside (Born Losers Records).
Here Comes My Girl || Cover: Weezer || Original: Tom Petty and the Heartbreakers
The official soundtrack album (WaterTower Music) for the Apple TV+ original series Bad Monkey – the crime-meets-comedy story of a detective turned restaurant inspector in Southern Florida, starring Vince Vaughn, Natalie Martinez and Jodie Turner-Smith – features covers of Tom Petty songs by big names including The War on Drugs, Kurt Vile, Nathaniel Rateliff, Jason Isbell, Sharon Van Etten, Eddie Vedder, and Weezer. A good idea that works out great.
Stop and Think It Over || Cover: The Lotts || Original: Compulsive Gamblers
We take every opportunity to shine a spotlight on Memphis, Tennessee-based singer/guitarist Greg Cartwright, one of our all-time favorite songwriters. With garage rock band Compulsive Gamblers he released the Crystal Gazing Luck Amazing LP in 2000, with Stop & Think It Over as an irresistible highlight. British rock ‘n’ rollers The Lotts do a good job of giving it new energy, on the B-side of their Zero Zero 7″ (Swelltune Records).
She’s Leaving Home || Cover: The Staves || Original: The Beatles
Last spring, London-based indie folk duo The Staves released their new album All Now (Nonesuch Records), which they followed up in late November with a four-track acoustic EP called Happy New Year, on which you’ll find this cover. As life-long Beatles fans, Jessica and Camilla Staveley say they’ve known and loved the song forever: “The simplicity of it felt very familiar to us and it inspired us to want to pick up the acoustic guitar and do our own version; to tell it’s story and to sing those melodies together, just our two voices.” It’s beautiful.
Ghostbusters || Mister Leu and the Nyabinghers || Ray Parker Jr.
The Specialized Project have posted the compilation Skank Up the 80’s: The Decade Reimagined on Bandcamp, a selection of sixty-seven(!) covers curated by Dan Vitale and Paul Ayriss. The title gives away how the biggest 80s pop hits – no, this one is not missing – sound here. Guilty pleasures all over, but Ghostbusters Ska by these French musicians delivers the most fun.
Also worth mentioning: Bang Bang (My Baby Shot Me Down) (Nancy Sinatra) by Abes Bones Bicycle (Refrigerator) by The Reds, Pinks & Purples Big Love (Fleetwood Mac) by Ian McNabb Champagne Supernova (Oasis) by Middle Kids Como Una Perra (Thee Headcoats) by Los Pólipos Cream Of Gold (Pavement) by DIIV crushcrushcrush (Paramore) by King Falcon Egyptian Reggae (Jonathan Richman & The Modern Lovers) by Pancho Acosta Don’t Come Back (The Kaisers) by The Kaiserinas featuring Alice Faye Every Day Is Halloween (Ministry) by Vista Blue Fazer (Quicksand) by Hot Water Music Feliz Navidad (José Feliciano) by Fantastic Cat Fire in the Western World (Dead Moon) by Superchunk Fortnight (Taylor Swift) by Court Reporter From The Bottle To The Bottom (Kris Kristofferson) by Goodnight, Texas Ghostbusters (Ray Parker Jr.) by Elliott BROOD Mr. Grieves (Pixies) by DEHD Groove Is In The Heart (Deee-Lite) by Super American Eagle Heart Attack (Jack & the Ripper Z) by Ichi-Bons Hybrid Moments (Misfits) by Jae Star I Put A Spell On You (Screamin’ Jay Hawkins) by Samantha Fish Is It A Star (Hall & Oates) by Fernando Perdomo I Want To Hold Your Hand (The Beatles) by Diners Most People I Know (Think That I’m Crazy) (Billy Thorpe & The Aztecs) by Me First And The Gimme Gimmes My Size (John Entwistle) by Ex Norwegian as The Silky Strings Pass the Hatchet, I Think I’m Goodkind (Yo La Tengo) by Quivers Rocky Raccoon (The Beatles) by Swamp Dogg Say Yes To Heaven (Lana Del Rey) by Fontaines D.C. Sensitive (The Field Mice) by The Melancholic Men Teenage Kicks (Undertones) by Viva Lone Justice Time After Time (Cyndi Lauper) by Garfunkel & Garfunkel We’ll Live And Die In These Towns (The Enemy) by The Subways What If I Like It (Alyse Alan Louis & Pretty Filthy Original Company) by Pacing While My Guitar Gently Weeps (The Beatles) by Lucinda Williams The Witch! (The Sonics) by The Strongest Tool
Check out our Dusted playlist on Spotify for more cool cover songs.
Just when you think Night Court might need to catch their breath – having unleashed over 50 songs across three albums and two EPs since their late 2021 debut – they kick down your door with $hit Machine, a 17-track pressure cooker out today on Recess Records.
17 tracks? That’s a bit much right? But remember we’re talking Night Court here: masters of the 90-second knockout punch, where every razor-sharp second feels like a joyride in a stolen car. Each track needs just one killer hook or melody to ignite, and these Vancouver noise merchants know exactly how to strike the match.
While their DIY ethos screams punk, trying to box Night Court into a single genre seems beside the point. Few current bands can bottle this kind of lightning-that raw, untamed energy-into such enjoyable lo-fi ramshackle blasts of noise. The album’s biggest surprise? Rather than slowing down, Night Court sounds like they’re just warming up and have way more tunes to write. Watching this gang of friends demolish their instruments and sculpt the wreckage into something this addictive is pure joy.
Favorite hits? Today it’s Mistakes Become You, Infrared Glasses, Captain Caveperson, and Permanent Vocation – but catch me tomorrow for a different hit list. LP available at Recess.
I believe Goated & Foreboded is Comfy’s sixth full-length album in their ten-year run, yet this is the first time we’ve covered the band. Which feels a bit odd, considering their energetic, catchy sound and strong DIY ethos. That said, the Rochester (NY) band themselves claim on Instagram that this is their best record yet. I can’t speak to their entire back catalog, but I do know this: Goated & Foreboded is a highly enjoyable indie punk/power pop album that should appeal to fans of early ’00s indie rock and ’90s geek rock alike.
The loud-quiet-stop-start-fast-easy dynamics work wonders, making for a record packed with instant hits. Check out some of my favorites below.
