Dickens are a trio of the timeless guitar/bass/drums format that hails from Esperanza, Mexico. Having existed as Dickens since 2001, spearheaded by Hector Avalos, the band have well proven themselves as a consistent and reliable force in the region’s independent music scene, and listening to Marionetaz, an album with a handful of outstanding offerings, and a continuous stream of exceptional quality, on musical and engineering terms, we come face to face with what makes Dickens a special band worth celebrating.

While punk has always been, and still is, a polarizing sound that you either get or you don’t, Dickens excel in making punk accessible and easy to appreciate. Their songs are lighthearted, full of enjoyable hooks, memorable melodies, and vocals that deliver the manic energy you’d expect from a punk trio, remaining throughout the album equally universal in their pop approach to writing their songs, and true to their original sound as a punk band.

The album kicks off with ‘Somos Como Marionetz’, a blitz of overdriven riffs and breakneck grooves interspersed with the manic yelps of the punk vocals. The song is immediate in its impact and is a lovely sound to lose yourself to. The drums are punchy and present, the bass is a reliable backbone that does not challenge or shy from the spotlight, and the guitars are just exceptional. ‘Segundos de Verdad’ sounds arena-ready. With its 80s-themed guitar and keyboard-led motifs and potently emotive chord sequences, this song introduces a melodious and softer side to the trio right from the get-go of the album, confidently stating that the band has a wide range of sounds at their disposal.

‘Music Rock’ returns to the pure pop punk territory with more hasty paces and riffs that are brimming with motion. The following ‘Muero al Despertar’ is melodic and sweet. The distorted bass thumping in the background was especially fun to pay attention to in contrast to the restrained guitars and saccharine keyboard motifs. A colorful piece that intentionally disintegrates in its middle in a memorable bridge that’s expertly executed. The pop-heavy sound continues on the following ‘Marian’, a sweet and colorful ballad-like offering with slow and heartful croons. One of the album’s most direct and familiar sounding offerings, and subsequently one of its most accessible and easy to love.

Standing out in the album’s latter half is ‘Tek Tack’. A simply joyful piece of pop punk with fantastic use of vocal harmonies and a short, fiery guitar solo that makes the song one of the album’s most memorable. The album’s penultimate cut ‘Kaliman’ sounds like the album’s most involved and intricate. With its nuanced introduction with guitar harmonics, its subdued mix that favors atmospheric, clean guitar arpeggios rather than flamboyant punk riffing, and its time-twisting chorus section, it is the album’s most ambitious song, and it effortlessly hits the mark. The restrained vocals in particular are a fresh addition at this point in the album, and its guitar wails are very impactful.

After a thoughtful, slow, and deliberate closer ‘Los Barcos del Dolor’, the band concludes its immersive journey as the Marionetaz, bringing their album to a satisfying closing that will take some time to wash off. Dickens’ Marionetaz is a vivid album and a very balanced listen that is executed with soul, passion, and to a great degree of attention to detail. The results are a handful of easily lovable songs that are a fantastic introduction to the catalog of this veteran outfit.

What unfolds is not a romance in the conventional sense, but a reframing of loss. Beneath the pop-punk rush lies a private reckoning: grief processed not through retreat, but through motion. The track leans on comic-book symbolism not as a gimmick, but as a survival language: strength, vulnerability, and the refusal to be undone. The brightness isn’t denial; it’s defiance.

The artist works in contrast. The foundation is unmistakably pop-punk: tight drums, clean chord progressions, a forward-driving pulse, but it’s brushed with electronic vocal textures that slightly distort the emotional focus, as if memory itself is passing through a filter. The result feels polished without losing its human grain, nostalgic without sounding trapped by the past.

There’s also something quietly impressive about how contained the song feels. No excess, no melodrama, just enough restraint to let the meaning breathe. Knowing that every element is self-performed and self-produced only sharpens that impression: this is control earned through experience, not perfectionism for its own sake.

As a preview of what’s to come on early2thou, the track suggests a project interested in dualities: joy and ache, youth and aftermath, fantasy and reality coexisting in the same frame. James Zero’s “BABY, YOU’RE NO KRYPTONITE” doesn’t ask for sympathy. Instead, it offers momentum, turning memory into fuel and letting the listener decide how close to the surface they want to swim.

From the opening moments of “Weirdos in Basements,” you’re dropped straight into the heartbeat of the DIY scene: fluorescent lights, cracked amps, and that unwavering refusal to quit. It’s both a tribute and a manifesto, a shout-out to every misfit who keeps showing up. Then comes “Fare Inspector,” a furious sprint through the absurdity of transit fines and bureaucratic overreach: punk as civic protest, spat out through clenched teeth.

The title track, “Doomed City,” hits differently. Beneath the snarling vocals and clattering guitars lies something heavier: the quiet numbness of urban life, the way modern survival feels like a loop you can’t escape. It’s not despair, exactly, it’s recognition. The Bare Minimum turn that recognition into catharsis, finding laughter somewhere between burnout and breakdown.

They close with “We Can’t Bring Drums,” a tongue-in-cheek ode to every logistical nightmare that comes with being a band on the road. It’s the most self-aware track here, collapsing fatigue and absurdity into a single punchline that somehow still rocks.

The EP’s clarity of intent makes it stand out. There’s no posturing, no attempt to polish the rough edges, the band thrive on them. They sound like a group of friends who’ve accepted that perfection is overrated and that the real art lies in persistence.

Toronto’s skyline might be crumbling, but The Bare Minimum aren’t here to mourn it. They’re here to dance on the ruins, instruments in hand, laughing at the absurdity of it all. In a world obsessed with fixing, they’ve mastered the rare art of falling apart!

The Maryland-based artist channels Ozzy’s unhinged theatricality, Nirvana’s grit, and Mac Miller’s sly rhythmic ease, all while refusing to dilute his rawness with studio gloss. The result? A track that feels like stumbling into a reckless night out and realizing the chaos itself is the point.

Recorded in total isolation, WhiteBoyWa$ted carries the claustrophobic energy of walls closing in, but instead of restraint, BruceBan$hee kicks them down. His vocals sneer and snap, veering between punk howl and rap cadence, never settling long enough to be boxed in. It’s messy, it’s loud, and it’s deliberate, a middle finger to predictability and polish.

But what makes the song stick isn’t just its reckless spirit, it’s the conviction behind it. BruceBan$hee isn’t experimenting for the sake of novelty; he’s tearing genres apart to rebuild them in his own chaotic image. Whether on streaming platforms or live on stage, his music demands you feel it first and think later.

With WhiteBoyWa$ted, BruceBan$hee proves he isn’t just bending genres, he’s breaking them wide open!

 

“Live Today” feels like a nudge toward changing your life. A motivational punk anthem to push you in the right direction. The song starts energetic and gradually the tempo gets faster till we reach the chorus and then they unleash raw energy while chanting “Live today/don’t be afraid / not tomorrow.” The song is pushy and urgent, calling the fans to actually live their life today instead of waiting or being afraid. 

The music video matches the song perfectly, starting with a couple hanging out in a dirt racetrack arena. The couple is invested in the races but they are always afraid to participate.  A feeling that we can all relate to, we all have this one fear that prevents us from going after what we really want, something that could be life-changing.

The couple faces their fears and the woman decides to actually take the risk and participate in the race. Unlike the expected happy ending, She doesn’t win but that is exactly what the message is about. Live your life even if you are not going to win every race and every game. Life is both winning and losing, happiness and sadness, banes, and blessings, so live today. 

The message of the video and the song are both inspiring and encouraging. After watching the video I felt a bit hopeful and filled with energy.  The couple were played by the beloved New Zealand star Kate Simmonds and comedian Tom Sainsbury. They both gave a nostalgic and wholesome vibe to the video. 

The song is part of the Transits‘ upcoming album, and they are planning to release it later this year. You can enjoy the video here. You can check the song here.

At first glance, the song hits with early-2000s pop-punk immediacy: those jagged guitars, emo-charged hooks, and blistering tempo will instantly transport you back to a warped Vans Tour memory. But the details are what make this track cut deeper. RJ Pasin’s lead guitar work is nothing short of electric; from the opening licks to the climactic lines, his playing injects a visceral texture that elevates the entire experience. It’s no wonder fans have been watching his rise, his style crackles with confidence and bite.

While the collaboration is a centerpiece, Zero’s fingerprints are all over this track. He not only wrote, performed, and sang everything else, but also recorded, mixed, and mastered the song himself, an impressively hands-on approach that gives “YOU’RE A GHOST” a raw, fiercely personal undercurrent. His vocals walk a tightrope between desperation and detachment, riding lines like “You’re a ghost, I’m drop-dead in love with you” with painful honesty. It’s emo theater without the costume, real feelings masked in catchy refrains and minor chords.

This single is a sneak peek into “early2thou”, James Zero’s upcoming album that promises more throwback bangers for the My Chemical Romance and blink-182 faithful. But if this song is any indication, Zero’s version of nostalgia comes with modern flair: vocoder-laced harmonies, emotionally direct lyrics, and a punk ethos that hasn’t been watered down with time.

Both artists gear up for more visibility, “YOU’RE A GHOST” marks a defining moment, not just for Zero’s new artistic chapter, but for a creative synergy that proves emo is far from dead. In fact, with partnerships like this, it’s haunting us in the best way possible! 

An artist based in Brooklyn, Jackson Sadinsky’s innovative sound knows no bounds. Having first saw artist Shinigami back in his senior year of high school, Jackson Sadinsky is now proudly collaborating with him to release his singles, with ‘Wired Shut’ being recorded partly in Shinigami’s Jersey studio, partly in his own Brooklyn place, and part in drummer and longtime collaborator Rajit Sachdeva’s studio, also in Brooklyn.

‘Wired Shut’ is a manic and electrifying piece laden with industrial metal’s signature screeches and bangs, and hardcore screams from Sadinsky. The grooves are solid, and the song flows rather juicily due to Sachdeva’s confidence and supportive beats. If you enjoy the bold sounds that Sadinsky brings to the table then ‘Wired Shut’ will be an immediate winner for you with its exceptionally outrageous mid-section and modal sound that’s adventurous and unsettling.

‘Wired Shut’ is a testament to Sadinsky’s talent and dedication to his craft. 

A singer and songwriter based in New Market, Maryland, SkyDxddy is Skylar DeMarino, an artist that has taken it upon herself to write songs that deal with past trauma, mental health, and the resilience in the face of it all. ‘Choker’ is a great introduction to the musical and lyrical worlds of SkyDxddy, with confrontational words full of acceptance and defiance, and a set of aggressive riffs pit against a hammer-fisted drum part, SkyDxddy’s boldness is prevalent for all to see. 

‘Choker’ starts with a melancholic guitar part accompanied by DeMarino’s calmest delivery throughout the song. The arrangement then explodes with the blasting drums and their fulfilling placement in the mix, all supportive and roomy. The guitars are scruffy and their alternative rock tendencies are through the roof. The intricate riffs that blend power chord chugs with blazing distorted runs are charismatic and are a great accompaniment for SkyDxddy edgy and heartfelt deliveries. 

‘Choker’ is a song of solidarity with anybody who’s struggling with trauma or mental health issues, it is SkyDxddy’s way of saying that she sees them and is with them in spirit. A brave set of lyrics and an engaging arrangement that is as familiar as it is energizing, ‘Choker’ is an introspective rock anthem with a profound depth. 

In “Arizona,” Barking Poets bring all the signature elements they’re known for. Loud, infectious guitars? Check. A chorus that’s catchy enough to stick in your head all day? Check. Lyrics that blend wit and grit, capturing the band’s raw, unapologetic energy? Check, check, check! This song kicks off a new era for Barking Poets, setting the tone for their debut album, recorded at Unit 13 studios with acclaimed producer Paul Tipler, who’s worked with U.K. rock royalty like Idlewild and Placebo.

The track brims with everything that makes modern rock thrilling: fast riffs, a catchy beat, and an unapologetic, fun-loving spirit. But there’s depth, too, with lyrics like “These are the days when you need the truth to set you free,” hinting that this journey is about more than just a joyride. “Arizona” is as much an escape as it is a search for something real.

Set for release on November 8, 2024, through Engineer Records, the track will be available on all major streaming platforms, and you can catch the exclusive video premiere to experience it firsthand. So grab your virtual keys, turn the volume up, and let Barking Poets take you on an adventure to “Arizona,” and the best part is there is no GPS required!

The song begins with Clare’s multi-layered vocals in a what feels like a dark post-punk-ish vibe, but once the drums kick in the sound shows some more energetic and rhythmic playing similar to many pop-punks bands of the 2000s. The way Clare sings the verses feels honest and heartfelt, and as she’s singing predominantly in the lower registers/pitches it’s pretty easy to get most of the lyrics on your first listen. The hook is beautifully connected to the verses and doesn’t stray far from the energetic drum sound of the verses…one of the song’s most unique qualities.

Another aspect I have to point out is, this song was mixed and mastered by Clare herself, to keep some of the imperfections and intricacies that make every artist and every person who they are and who they sound like match with the lyrics. A beautiful and artistic choice, in my opinion.

All in all, this song is unlike anything you’ve heard in pop rock or punk before, but it has the rebellious edge that all punks love, in both musical and lyrical choices. I’ll definitely keep this one on my playlist for a while.