The musical style of Jeff Rosenstock’s HELLMODE takes you back to the carefree days when being politically correct wasn’t the brunt of our anxiety.
Music may be the glue of every NYC underground scene This Must Be the Place covers, but Jesse Rifkin’s primary interest is in the community held together by that glue.
Ramones’ Ramones uses reduction as a means to end, to bring rock back to its roots, whereas Devo’s Q: Are We Not Men? uses reduction as the end itself to mirror society’s decline.
The songs of the Interrupters’ Aimee Allen reveal a moment, mood, or secret deep in her life and for which she is finally finding the right words.
Country Westerns’ music is tight, propulsive, and unafraid to meld genres. Their “punk chutzpah with classic rock sheen” is unafraid of country and blues flavors.
Rise Against’s masterpiece Revolutions Per Minute is a vital work about the loss of innocence in a fraught time and a call to arms to fight in a new one.
Black Flag’s Damaged is a valuable document of the past as well as a prophetic testimony to the values of present and future hardcore punk music.
On Street Hassle, Lou Reed shaped a thrilling poetic narrative focused through the prism of 1970s New York, using three chords, punk energy, street language, and Samurai ethics.