garage punk Archives - Vinyl From The Vault

Wine Lips “Stressor”

sfilzen — Thu, 22 Oct 2026 18:12:58 +0000

Wine Lips “Stressor” 2019. Not on a label/self-released. Canadian garage-psych-punk, their debut LP. We saw Wine Lips perform for the first time 3 years ago (opening for Frankie and the Witch Fingers at the Miramar in November 2023) and saw them about this time a year ago at Cactus Club (November 2025). They’re on tour now and playing Chicago in about 2 weeks, not sure if we will get down there or not but it would be absolutely worth it: they have killer energy with mullets that are epic even by Canadian standards (though cannot confirm they still have that style this year). Shreds, ass-shaking, high high high voltage energy and their debut album is no different.

Wine Lips at the Miramar 2023

Wine Lips at Cactus Club 2025

My top tracks on Stressor are the highly danceable “Fly Swatter, ” the grooving (and 90’s vibey garage punky) “Electric Lady,” and the head-banging meets booty shaking shredding ‘Weak Knees” Also great is the exotically hypnotic “Fried II” (which evolves into an all-out rocking freakfest) and the funky garage psycher “She Said.” Their latest album TV Dinner came out just a couple months ago, in August 2026. It is possible we have a copy somewhere around here that I’m not aware of (or maybe it’s an upcoming holiday present!) but I don’t remember picking it up. Of course it could be a stupid tariff trade war casualty and just not available for a reasonable price here in the States.

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Gino & the Goons and Chinese Junk “Talk Trash With…”

sfilzen — Tue, 29 Sep 2026 16:17:46 +0000

Gino & the Goons and Chinese Junk “Talk Trash With…” 2025. Big Neck Records, red & white marbled vinyl. Split EP of upbeat, snotty garage/punk. Gino & the Goons are from South Carolina and it looks like they’ve been around and releasing albums and singles since 2013. Their side of the split (the Goon Side) is sloppy lo-fi perfection with my top picks the ass-shaking “Nothing At All” and the psychobilly tinged breakneck “Mess You Up.” Chinese Junk is a three-piece from the UK and a bit newer (though definitely not younger: both vocalist/bassist Ben Nuthink and guitarist/vocalist Steve Legend were formerly in Griswalds from the 90’s) with single releases starting in 2020 and one full-length LP in 2023. Tighter and more 70’s/80’s punk than garage slop, their side (the Junk Side) has hard-driving, chugga chugga guitar riffs, frenetic drums with a lot of fun subversiveness and snot: “Shut Up About the USA,” “Crimewave” and the sassy, rat-a-tat-tatty “Your Family Are Robots” (“your family are robots, your family is square, your family ain’t real”).

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Oddfellows “Oddfellows”

sfilzen — Wed, 17 Jun 2026 16:44:56 +0000

Oddfellows “Oddfellows” 2026. Dirtnap Records, Green Noise exclusive clear vinyl variant. Texas OG punks reunited! The band first got together in ’94, played a bit, sort of split into a zillion (famous) pieces and have now reformed for their first LP (they did put out a 7″ in ’95). Oddfellows features Chris Pulliam (The Reds, High Tension Wires) on guitar, bass and vocals; Mark Ryan (The Reds, The Marked Men, High Tension Wires, O-D-EX, Radioactivity, Mind Spiders) also on guitar, bass, and vocals; and Mike Throneberry (The Reds, The Marked Men, Mind Spiders, Mazinga Phaser, Stumptone) on drums and vocals. Meaning we’ve seen Ryan and Throneberry play at least a couple of times at Dirtnap Fests since a few of those bands are also on the Dirtnap label. Oddfellows is punchy poppy garage punk, exactly the Dirtnap vibe, and it’s great! SO many bangers! The snotty “I Hate Rules,” the messy lo-fi “Late on Love,” the ass-shaking “Eraser,” the jangly and incongruously mod happy/snappy “I Burned Your Lawn,” the odd (but awesome) jangle-grunge of “You’ll Never Get to Mars” (think The Kinks meets Screaming Trees – it’s weird but totally works) – what a fun record!

I cannot find a single live performance of this Oddfellows band (there are other ones out there, a rabbit hole I’m not willing to fall into) so here’s The Marked Men’s full set from Dirtnap Fest 2025 at X-Ray Arcade and yes we were there.

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The Sleeveens “National Anthem”

sfilzen — Tue, 09 Jun 2026 15:50:02 +0000

The Sleeveens “National Anthem” 2026. Goner Records, limited edition white vinyl variant. The latest from Dublin/Nashville punks – love these guys! We’ve been fans since even before their debut LP (on Dirtnap Records) was released having gotten the inside scoop from Dirtnap Ken back in late 2023 or early 2024. National Anthem is a raucous garage soaked good time, reminiscent of the 70s punk sound (The Clash, Ramones, Buzzcocks and Stiff Little Fingers — I think two of the Nashville-based band members still do tech for SLF tours – here’s a photo of Sleeven bassist, who also recorded and mixed National Anthem – doing guitar tech before the Stiff Little Fingers set at Punk Rock Bowling in 2024 ): fun, melodic and a bit snotty. There’s even a bit 60s-style girl group energy (which is of course also like the Ramones) meets jangly power pop (think early Elvis Costello) on “My Pretend Girlfriend” and some country twang on the title track “National Anthem” (though it is sarcastic AF). As usual, my top tracks are the bangers like the opener “If I Was a Casual,” “Six Counties Punk” and the snappy “Cowboy Queen.” Despite the album’s name, there’s just one song that I’d describe having an anthemic sound: the hypnotic, driving “Town of Horseheads” that definitely leans into heavy garage psych territory. There’s just one cover on National Anthem – “The Rat” originally by The Walkmen (2004) and since I’m not familiar with that indie rock band I’ll just go ahead and say The Sleeveens version is great.

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The Obits “Die at the Zoo”

sfilzen — Tue, 21 Apr 2026 17:32:53 +0000

The Obits “Die at the Zoo” 2021. Outer Battery Records, yellow vinyl. Live, loud garage punk, from a show on August 26th 2012 at The Zoo in Brisbane, Australia. The Obits recorded this when they were on tour between their second and third albums for Sub Pop and Die at the Zoo includes tracks from those two LP’s like “Widow Of My Dreams” and “I Want Results,” plus single releases like “One Cross Apiece” and “Refund.” One of my top picks is the bendy, slightly sinister stomper “New August,” another is the snarling punk stomper “Talking to the Dog.” “Pine On” is great (but the video for the original single freaks me the fuck out – it’s linked below). The recording quality of Die at the zoo is really stellar (but not over-produced allowing for the band’s raw/real vibe to come through) and the crowd noise is minimal, just enough between songs to prove it is, indeed, live.

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Diet Lite “Double Wide Yukon”

sfilzen — Wed, 26 Nov 2025 19:02:11 +0000

Diet Lite “Double Wide Yukon” 2025. We picked up the Milwaukee garage punks latest LP at their record release show this past Friday night at the Vivarium. There isn’t much online regarding labels and vinyl variants so I’m guessing this might be self-released and limited edition. I’m hesitant to say that these guys are one of my current local faves as every time I seem to write that down, the band in question seems to break up within a year. (so shhhhh….these guys are one of my current faves). We’ve seen them several times this past year and their release party show did not disappoint. High high energy, fun and danceable plus multi-talented: Max Niemann and Kelson Kuzdas each sing, play guitar and bass and swap duties mid-set, all the while Evan Marsalli keeps up a furious rhythm on the drums. I believe they do this on Double Wide Yukon as well. The album is their 2nd or 3rd full-length, though the internet is as fuzzy about that as it is on the other details, and they played it in its entirety (plus a bunch of other material in the second half of the concert). My top tracks on the record were the same top picks from the show: album opener “Pack it Up,” the rollicking rockin’ rhythm and blues “It’s All Too Much,” the ridiculously ass-shaking “A Hole in the Ground,” the short and snappy “Jackass II” (the title of which I think they said they’d keep until the show sued them to stop) and touch of metal rocker “Shittah.” There’s definitely a secret or at least a not-named-track at the end of Side B which isn’t named on the album cover nor on the digital track listing on their Bandcamp page – it starts as disjointed riff which then develops into barely contained blues punk instrumental mayhem…which then abruptly stops without warning. Kinda like their performances (not the abrupt stop part, they finish their shows like normal people). Their crowd can be a bit obnoxious, but sharpen your elbows, stand a bit off to the side and get rocking as these kids are definitely alright.

Here’s their track “A Hole in the Ground” from this past summer’s Summerfest performance. I didn’t shoot this video but we were at that show (possibly standing next to the person who filmed it) and it was hot and very very fun.

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C.O.F.F.I.N. “Australia Stops”

sfilzen — Fri, 10 Oct 2025 18:26:52 +0000

C.O.F.F.I.N. “Australia Stops” 2023. Goner Records. Limited edition white vinyl. The fifth full length release from Australian hard rock/garage punk rockers. I’m usually not a fan of extra growly vocals, but in C.O.F.F.I.N.’s case, that style totally works. His deep snarl is backed by music that is mostly over the top, hard-driving, loud and messy (except the bluesy – with harmonica! – “Beasts“). From their website: “‘Australia Stops’ may be best recognised as words dawned on the back of truck mud flaps. To C.O.F.F.I.N, ‘Australia Stops’ are words that became a polysemous idea and observation on Australian society, culture, art, politics and progression. “When the city burns up you get out, when the flint hits shot you get down,” lyrics roared by drummer/vocalist, Ben Portnoy, a look into ‘idle-Australia’, our government action (or lack thereof) to social issues and the overarching notion of fear of change in this country.” My top tracks include the hard-partying anthemic title track “Australia Stops,” the beaty “Cut You Off,” the hardcore punk-edged “Keep It Dark,” and the cock-rock ass-shaking “Factory Man.” “Night Breaker” slows things down for a minute, its vibe reminding me of dirty 70’s punk like the Dead Boys but then the rest of the LP finishes fast, down n’ dirty.

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Stiff Richards “Dig”

sfilzen — Wed, 20 Aug 2025 17:36:55 +0000

Stiff Richards “Dig” 2019/2024 repress on limited edition translucent red vinyl, Legless Records. Australian garage punk, 8 song LP: the band’s second full-length release though it’s at 45rpm so the songs and the album are over so fast it feels like an EP. Love these guys: hard-driving, ass-shaking, straightup no frills hard garage rock energy. My top tracks are the lead/title track “Dig,” the riff-and-shred filled “Ostentatious,” the menacing edge of “Pea” (which is not about veggies but rather stands for P-Power, E-Energy, A-Action) (though a legume-based angry punk song would be fucking hilarious) and “Do It Right Now” which has one lyric line repeated over and over and it’s a massive ripper. There’s one cover, “No Fun On the Beaches” which was originally by The Chosen Few, another Australian punk band, from 1978. It’s great: super-simple and full of snot. Love these guys and hoping they tour soon but their last Instagram post was over 8 months ago so no idea what they’re up to/even working together; the most recent release was a single in October ’24.

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The Cleveland Steamers “Best Record Ever”

sfilzen — Fri, 18 Jul 2025 18:51:43 +0000

The Cleveland Steamers “Best Record Ever” 2018. Smog Veil Records, blue vinyl. The third LP from the Cleveland-based (obviously) power pop/punk “supergroup” (according to the album’s hype sticker). Band members have been in a bunch of underground groups like Pink Holes, Floyd Band, Singing Angels and Arch and the Bunkers. This is the second record by the Steamers now in our collection but not by design – the same person who gave me their 2022 release 10 More Steaming Piles of Hit gifted me this record, too. Like that more recent release, Best Record Ever is just OK and certainly doesn’t live up to its very ambitious name. The opener “See You Tonight” is alright, power pop with a garage punk edge and “Hung Up on You” is a strong garage punk rocker; it looks like it was originally released as in 2016 as a collaborative single by both the Steamers and Archie & the Bunkers. “My Asshole Cousin” is funny with a goth-punk vibe and “Maple Leaf Girl” is super-60’s inspired, and quite fun. “Never Saw You Again” is a bit dark, a raw 60’s inspired garage ballad. But “Dream of Me” kinda sucks, a gothy dirge with some squealing sax that seems to be attempting a garage-psych sound (but failing), however once it morphs into the next track, “Monsanto,” it gets a bit more interesting: heavier with some doom and gloom death metal vibes accented with theremin (totally not my thing but at least unique). For some reason, this album isn’t readily available for links so I guess buy it to hear the rest on the little I was able to link above. Happy to sell my copy, make me an offer:

Buy a Record

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GØGGS “She Got Harder”

sfilzen — Mon, 14 Jul 2025 17:28:16 +0000

GØGGS “She Got Harder” 2016. In the Red Records. Garage punk “supergroup” composed of Ty Segall, Chris Shaw (Ex-Cult) and Charles Moothart (Fuzz). Their debut 7″ single is fuzzy, fast and ass-shakey. Ty has had about a million side-projects over the years but according to the band’s Discog bio “This is not a side-project, it is a necessity. GØGGS is three heads, one spine, circling the drain of the wasteland known as mother earth….The three of us have been friends for years at this point, crashing at each others houses and riffling through each others record collections after a night of performing, partying, or both…Ty and I decided we were going to start a band together when Ex-Cult opened for his band on the Slaughterhouse tour in 2013. A couple years later when the plans were solidified, it only made sense that thrash master Charles Moothart should get in on the experience.” (Shaw)

The b-side is an Iggy Pop cover, “Billy is a Runaway.” It’s even fuzzier (with some truly signature Segall buzz) accented with saxophone (played by Zumi Oneiro) and an intentionally off-kilter rhythm section, making it a wonky cacophony of weirdness. It’s pretty great.

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