The track opens with a warped siren that gives way to a sludgy guitar riff and a vocal that’s part sneer, part lament. “I saw myself today / In the face of another,” Yacovelli sings, setting the tone for a song that’s equal parts confessional and chaotic. There’s a clear influence from early Nirvana, but also flashes of the Pixies and even My Chemical Romance, especially in the final act where the song swells into a darkly dramatic climax.

What makes “Doppelganger” stand out isn’t just the distorted guitars or the punchy percussion, it’s the sense that the whole thing might fall apart at any moment. That volatility feels intentional. The lyrics spiral through themes of self-alienation and moral confusion, echoing a generation raised on both irony and anxiety. There’s something both unsettling and cathartic in watching it unfold.

By the final chorus, the track has transformed from a grungy spiral into something almost apocalyptic, more Carmina Burana than Cobain: It’s messy, theatrical, and emotionally volatile; and that’s exactly why it works!

This is a track for when you’re feeling like a stranger to yourself, and kind of loving it! 

The band took a bold decision putting this track as the first one, considering how it’s the climax of the concept album that was originally released in the 90s. The hard hitting rhythm section matches so well the angsty and overdriven vocals. The guitars however, sound on the clean-ish for most of the song, except when the pace (intentionally) changes for the hooks. Overall, you can tell that the band are master songwriters by how well they change the timing of the drums and the vocal style while still maintaining the emotion and vibe of the song.

Although cut a little shorter than the album version, this track is still my favourite release from the band’s entire repertoire. The drums are hard-hitting, the bass is present and strong, the guitars are relentless, and most importantly, the vocals are distorted and overdriven for the entire song’s duration. It may be the song that will make you wanna push someone and start a mosh pit. 

Now if it wasn’t for some of the nasal qualities and the unique bass tone, I would’ve thought that my music player had shuffled to a different artist. This song is a guitar ballad that somehow still sounds like textbook punk rock. Its most amazing quality is the vocalist’s ability to sound broken and then determined in the exact same sentence, matching the album’s nameless antihero. I promise you this is unlike any other punk song you’ve heard before and it’ll blow your mind away. 

Another exemplary Punk Song, but this time it sounds like a time warp to the 70s. The vocals are balanced between clean chesty parts and more raspy ones, and there are some melodic guitar lines intertwined with the percussive ones. It doesn’t matter if you’re a punk or a metalhead (like myself) because there’s an impeccable rhythm section on this song that will get you hyped and moving. A beautiful closer to an EP that gives listeners a peak to the full experience of the band’s magnum opus of a record, The Scapegoat’s Agony.

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The first four songs on the album: Sick Thing, Donuts, Ugly Man, and Still A While show some amazing guitar work that reminds me of The Offspring and basslines that remind me of Nirvana‘s Bleach era. I really love how the combination is seamless and the elements feel connected to make a coherent sound. The drums play fast and complex beats, with lines that serve the bass and drums well. The vocalist showed an amazing range of abilities here from screaming to soft singing to the effects and processing which make him sound like he’s making a statement in a protest or a riot. The following two tracks On and Fake It take a more pure-punk direction and will remind you of the good old days of The Dead Kennedys and The Sex Pistols with their chunky bass riffs and chaotic drumming. 

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Over/Under is another one of those protest songs and then comes Relief, which is a relatively slower track but it still carries all the great punky influences. Stuck has my favorite chorus of the whole record. Nice is the largest track here, and that gives it space to have tons of dynamics that make it spicier. Bong Sweat and Methmouth go back to the chaotic punk and grunge mix from before, which was much needed at this point. The final track Roll has a ton of angst and anger in the vocals, making it a great album closer.

For most of us, Grunge was a genre that was often overlooked. Some rock fans who haven’t lived to attend the grunge treated it like a transitional period or dismissed it altogether. While part of that is the mistake of non-innovative bands too, there have been some great grunge albums that didn’t get the recognition and support they deserved. Thirty-something years after this whole issue had passed, the spectrum of rock music was rich and large and full of influences to pick and choose from, and Indianapolis-based rockers Bingo Boys have made a great mix of punk and grunge that’s worth your while and will stay in your playlist for weeks and weeks.