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"text": "Pacific Northwest alt-rockers Sun Spots released \"Rocket\" in March as part of their sophomore EP, Dog is Calling, out via Seattle’s Den Tapes.\n\nRead more: https://dentapes.bandcamp.com/album/dog-is-calling"
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"text": "Catnip’s “Everybody Knows You’re High,” released on August 30, 2024, is one of those songs whose title lands like a confrontation before the band has even started playing. The San Francisco group describe themselves on Bandcamp with the wonderfully blunt phrase “double drums, loud and fuzzy,” and the track’s posted lyrics make clear that the song is not treating intoxication as glamorous haze. Instead, it frames altered consciousness as something anxious, bodily, and socially exposed. Lines about stomach-churning, nightmares, and sinking through the ground give the song a vivid physical unease, while the repeated title phrase turns observation into accusation, maybe even concern. That tension is what makes it interesting. Catnip appear to work from a garage and noise-pop vocabulary, but here the fuzz is carrying a darker kind of immediacy. The song feels less like detached cool than a scene unfolding in real time, where private unraveling has become visible to everyone in the room. It is direct, queasy, and memorable, with enough rawness to keep the chorus from ever sounding casual.\nListen: https://catniptheband.bandcamp.com/track/everybody-knows-youre-high"
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"text": "Oakland’s Trough have long worked in the space where post-punk anxiety, noise-rock abrasion, and dark wit intersect, and “uncontrollable dirge” is a particularly vivid example of how they make unease feel alive. The song first appeared in advance of Crise de Foie and was recorded with Tim Green at Louder Studios, which suits the band’s dense, volatile sound. Even the title is a useful map: “dirge” suggests weight, repetition, and descent, but “uncontrollable” introduces motion, panic, and a refusal to stay neatly inside any one form. That tension is audible in the track itself. Trough do not present heaviness as something monolithic; they make it twitch, lurch, and splinter. The guitars feel corroded rather than merely loud, the rhythm section pushes with nervous precision, and the vocal presence sounds embedded inside the disorder, not safely above it. There is humor in the bleakness, too, or at least a kind of grim self-awareness that keeps the song from becoming self-serious. “uncontrollable dirge” is not elegant in a traditional sense, but it is sharply composed. It captures the feeling of psychic overload without flattening it into chaos, which is part of what makes Trough such a compelling band.\nListen: https://troughband.bandcamp.com/track/uncontrollable-dirge-2"
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"text": "New music from Seattle's Thavoron!\n\nWatch the music video:\n\nhttps://www.youtube.com/watch?v=xCNYKd4FiPs"
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"text": "Strange Men bring post-punk bite and political clarity to “All the Pretty Houses,” a song that turns personal history and social critique into something tense, melodic, and sharply observed. Released first as a single and later folded into Come Yesterday, the track examines inequality in San Francisco, drawing power from the contrast between polished surfaces and the human precarity hidden beneath them. That tension gives the song its title and its emotional architecture. “All the Pretty Houses” does not romanticize urban beauty; it asks what kind of displacement, exclusion, and psychic erosion can sit behind those façades. Musically, the band match that theme with urgency. The arrangement is taut and propulsive, shaped by post-punk economy and punk immediacy, but it leaves room for atmosphere and reflection. What stands out most is the sense of conviction. This is not issue-based songwriting in a blunt or sloganistic mode; it is lived-in, specific, and sharpened by observation. Strange Men understand that class tension is not abstract, especially in a city like San Francisco, and the song carries that knowledge in every line and chord change. “All the Pretty Houses” is incisive without losing its hook, making structural critique sound immediate, human, and impossible to ignore.\nListen: https://wearestrangemen.bandcamp.com/track/all-the-pretty-houses-2"
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"text": "New music from stellar Seattle artist Talaya.!\n\nhttps://www.youtube.com/watch?v=KhkwzYu61EY"
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"text": "Shutups’ “100Punk” comes from the Oakland band’s 2022 album I can’t eat nearly as much as I want to vomit, released via Kill Rock Stars, and it has been described as one of the poppiest songs on the record. That framing is useful because it gets at what makes the track compelling: it does not abandon punk energy so much as reroute it through hooks, wit, and a bright edge that sharpens rather than softens the song. Coverage around the album points to influences like The Strokes, Pixies, and Weezer, and “100Punk” seems to sit right at that intersection of nervy indie-rock melody and punk restlessness. The title itself is great because it feels both sincere and self-aware. “100Punk” can read as declaration, joke, challenge, or all three at once, which suits a band clearly interested in genre language without being trapped by it. The song has also been noted for channeling procrastination anxiety in its chorus, which gives the title another layer: punk not just as style, but as a way of living inside tension, avoidance, and overstimulation. That combination of urgency and irony gives the track its bite.\nListen: https://open.spotify.com/track/0J6QbT3MB0r5v5cVQd6IhK"
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"text": "Useless Eaters’ “Black Night Ultraviolet” belongs to the long, jagged line of Seth Sutton’s work, where garage punk, synth-punk, and no-wave abrasion get stripped down until every sound feels exposed and electrically charged. The song has circulated in multiple release contexts, including its earlier digital presence and a later appearance through Jeffery Drag, and the title remains one of the best clues to its appeal. “Black Night Ultraviolet” suggests darkness that is not empty, but irradiated, active, hiding frequencies the eye cannot quite register. That image fits Useless Eaters perfectly. Sutton’s music often rejects fullness in favor of pressure, repetition, and the anxious energy of things held together by sheer voltage. The result is lean but not minimal in an academic sense. It feels nervous, urban, chemically alive. What makes the song memorable is how it turns sparseness into atmosphere. Rather than overwhelming the listener with noise, it lets clipped propulsion and damaged texture do the emotional work. There have been countless punk songs about the night, but this one imagines darkness as glowing from within, poisoned and beautiful at the same time.\nListen: https://open.spotify.com/track/7l7WL8Me3lDnRxt1ndlylZ"
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"text": "New from Portland's Family Worship Center! It's off their upcoming LP Only Visiting, out June 12!\n\nhttps://familywarship.bandcamp.com/track/garden-grow-2"
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"track": {
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"name": "Bite the Hand"
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"comments": [
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"commentid": 579045688,
"text": "“Bite the Hand” carries the kind of title that immediately suggests conflict, self-sabotage, or the refusal to stay grateful on someone else’s terms. That tension suits Thank You Come Again well. The San Francisco band recorded their debut EP at Tiny Telephone with Maryam Qudus, and their broader catalog sits in a garage-leaning punk and hard rock lane where emotional directness matters as much as volume. “Bite the Hand,” released in late 2022, feels like a natural extension of that approach. Even without overstating what is not explicitly documented, the title alone points toward a familiar but potent punk theme: the moment loyalty curdles into resistance. What makes a song like this work is not just aggression, but clarity of feeling, and Thank You Come Again have the kind of lineup and recording pedigree that suggest a band comfortable turning raw material into something sharp and memorable. There is also something classic in the phrase itself. To bite the hand that feeds you is to reject dependence, expectation, and the scripts imposed by others. In punk hands, that old saying becomes a live wire.\nListen: https://thankyoucomeagain.bandcamp.com/track/bite-the-hand"
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"text": "Fake Fruit’s “Old Skin” comes from the Bay Area band’s 2021 self-titled debut, a record widely praised for its wiry, hard-edged post-punk and guitar rock. The song title is especially evocative in the context of Fake Fruit’s larger sensibility. “Old Skin” suggests shedding, memory, and the uncomfortable persistence of former selves, which fits a band so good at making social observation feel bodily and immediate. Coverage of the album highlights the group’s biting critique, nervy delivery, and layered guitar work, and “Old Skin” sits comfortably inside that world. Fake Fruit have always been strong at balancing intelligence and abrasion without losing momentum, and a title like this hints at exactly that kind of emotional complexity. Skin is identity, surface, protection, and vulnerability all at once. To call it old is to imply growth, damage, and something half-escaped but still attached. That makes “Old Skin” a perfect phrase for a post-punk band interested in human absurdity, social friction, and the strange labor of becoming someone else while still dragging your past behind you. It is a sharply chosen title from a band that knows how to make discomfort feel vivid and alive.\nListen: https://open.spotify.com/track/0M9KpQ7R3z2mV2i8Kq6v4Y"
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"text": "Kelley Stoltz has long been one of San Francisco’s great songwriters, a musician whose catalog moves freely through psych-pop, garage rock, power pop, and home-recorded experiment without ever losing its human scale. “Not Gone,” from If You Don’t Know Me, Buy Now!, arrives from an artist with decades of craft behind him, and that experience shows in how effortlessly the song seems to carry feeling. Stoltz has always understood melody as both hook and emotional architecture, and here that gift is front and center. The track feels concise but resonant, with the sort of songwriting economy that only comes from someone who knows exactly how much a line, a chord change, or a slight shift in arrangement can do. There is melancholy in the title, but also resilience. “Not Gone” suggests persistence through absence, the way people, places, and versions of ourselves remain present long after they have supposedly passed. Stoltz’s music often works this way: bright on the surface, quietly devastating underneath. He never forces sentiment, which is why it lands so hard. “Not Gone” feels like a late-career reminder that great pop songwriting does not age out; it simply deepens, gathering more shadow, more warmth, and more truth as it goes.\nListen: https://soundcloud.com/kelley-stoltz/not-gone"
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"text": "Watch Black Mountain play \"Space to Bakersfield\" LIVE on KEXP back in 2016:\n\nhttps://www.youtube.com/watch?v=pVEq9bZ-SY0"
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"text": "Baywitch’s 3rd album, ‘Apocatropica’ welcomes you into a realm adjacent to our own marred by mists, myths and monsters; a campy parable for very real-life wildfires, colonialism, bias, capitalism and the never-ending ever pending doom-news whirlpool. Baywitch is faster and fiercer, with a psychier surf sound to echo a dizzying time. Apocatropica was written and performed in Winter 2019.\n\nhttps://lightintheattic.net/products/apocatropica"
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