Apologue Podcast

Québec City garage-punk lifers The Carringtons return October 2 with The Reunion, a ten-song blast of sharp guitars, big melodies, and punk-rock economy twelve years after the band first got together. Somewhere between The Strokes’ melodic instincts, the full-throttle rush of Bad Nerves, Spiritual Cramp’s restless swagger, and the deceptive sophistication of The Hives, The Reunion sounds like four guys who have finally stopped trying to figure out what kind of band they are. The answer is pretty simple: big choruses, sharp hooks, and very little messing around. There is more going on underneath, though. Recorded and mixed by Adrian Popovich at Mountain City Studios in Montréal, The Reunion takes the band’s garage-punk foundation somewhere considerably bigger and more accessible. Synths and electronic textures creep around the edges. Guitars get doubled, bent and blown outward. Hooks that might once have disappeared beneath distortion are pushed right to the front. There are choruses here that could comfortably live on rock radio, but none of that comes at the expense of the band’s economy. Ten songs, almost no dead air, and the same instinct to get in, make an impression and get out. That economy has become something of a philosophy for The Carringtons. Since regrouping with a tighter lineup and renewed purpose in 2023, Ben Fortier, Joey Savard, Alex Charron and Dave Chamberland have been releasing music prolifically, playing festivals and touring across Canada, while increasingly taking the band beyond its home turf. In 2026, that meant crossing the Atlantic for eight shows through France, Belgium and the UK. Their live sets can cram fifteen songs into half an hour. The Reunion moves with the same impatience. It’s the kind of record that makes you want to point an old Peugeot west out of Québec City, find the left lane and see how far you get before somebody tells you to slow down. There is some history underneath all that forward motion. Québec has been turning out beautifully unruly garage bands for decades, from Québec City’s cult ’90s troublemakers Les Secrétaires Volantes to The Spaceshits, Scat Rag Boosters, Les Sexareenos, CPC Gangbangs and Demon’s Claws. That raw, self-sufficient spirit is part of the landscape The Carringtons come from, but The Reunion reaches beyond garage orthodoxy. There is a melodic ambition here that owes just as much to the strain of Québec and Canadian alternative rock that figured out how to carry strange ideas, loud guitars and genuinely great pop songwriting into much bigger rooms. The Carringtons aren’t abandoning the basement. They’re figuring out what else they can build on top of it. That evolution makes Popovich an ideal co-conspirator. A former member of cult Canadian garage-rock institution Tricky Woo and guitarist/vocalist in American Lips, he has spent decades on both sides of the glass, with recording and production work connected to artists including Sam Roberts, The Dears and Sebastien Grainger. His fingerprints are all over the way The Reunion refuses to confuse simplicity with limitation. Electronic instruments and unexpected textures slip into the band’s guitar-bass-drums attack, adding depth and impact without burying the hooks. Like The Hives at their smartest, The Carringtons understand that garage rock doesn’t have to sound like four microphones pointed at four amplifiers. Sometimes the extra noise is exactly what makes the simple part hit harder. Creative director Hugo Mudie, longtime frontman of The Sainte Catherines, also helped fine-tune arrangements and ideas, with Marc-André Beaudet mastering the finished record. Together, they helped sharpen a sound that sits somewhere between garage punk, indie rock and power pop, while giving the band’s increasingly mature songwriting room to show itself. The Carringtons Online INSTAGRAM | SPOTIFY | BANDCAMP | FACEBOOK | LINKTREE | YOUTUBE Checkout my YouTube Channel with long form interviews from the Subversives | the History of Lowest of the Low. https://www.youtube.com/playlist?list=PL9d1VSeOHYuxFWKuRdmn9j8UTW6AHwS_fAlso my Weekly Tour Vlog is up an live on the YouTubeshttps://www.youtube.com/playlist?list=PL9d1VSeOHYuwphwhc4zd0VgY66f1OUQZp Pledge monthly with Patreon https://www.patreon.com/apologueShop Apologue products at http://apologue.ca/shopCheck out new Four Square Here: https://distrokid.com/hyperfollow/foursquare/brighton-beach-ephttps://distrokid.com/hyperfollow/foursquare/seven-oh-sevenhttps://distrokid.com/hyperfollow/foursquare/industry-at-home–21st-anniversary-remix-remasteredhttps://distrokid.com/hyperfollow/foursquare/when-weeks-were-weekends

Lotsy (LOT-SEE) 1. an extreme state of euphoria, when having animmense amount of fun. Lotsy talks about the new single “‘No Obedience’ is about how fear can make us complacent. It can keep us obedient to systems, expectations and even our own limiting beliefs, stopping us from making choices that may feel risky but could lead to greater personal, creative or financial freedom. The song encourages people to question what is holding them back and to choose possibility over fear. I believe that when people feel empowered to live more fully and authentically, their individual lives improve and that creates a ripple effect that can make the world a better place”. Lotsy is a genre-bending rock project built for people who want more than background noise. It’s fun, strange, loud and loaded with meaning. Welcome to Lotsyland. Find your Lotsy. Socials Lotsyland WebsiteInstagramTikTokYouTubeFacebookSpotifyApple Music Checkout my YouTube Channel with long form interviews from the Subversives | the History of Lowest of the Low. https://www.youtube.com/playlist?list=PL9d1VSeOHYuxFWKuRdmn9j8UTW6AHwS_fAlso my Weekly Tour Vlog is up an live on the YouTubeshttps://www.youtube.com/playlist?list=PL9d1VSeOHYuwphwhc4zd0VgY66f1OUQZp Pledge monthly with Patreon https://www.patreon.com/apologueShop Apologue products at http://apologue.ca/shopCheck out new Four Square Here: https://distrokid.com/hyperfollow/foursquare/brighton-beach-ephttps://distrokid.com/hyperfollow/foursquare/seven-oh-sevenhttps://distrokid.com/hyperfollow/foursquare/industry-at-home–21st-anniversary-remix-remasteredhttps://distrokid.com/hyperfollow/foursquare/when-weeks-were-weekends

Oakland, California power pop outfit The Goods return August 19 with “Minor Key,” the second advance single from their upcoming LP Goodbye Summertime, due September 16 on Dandy Boy Records. Following the shimmering optimism of first single “Summer’s Almost Gone,” songwriter Rob Good reveals the more vulnerable side of the forthcoming record with a bittersweet meditation on heartbreak, memory, and letting go. For fans of The Lemon Twigs, Teenage Fanclub, Matthew Sweet, Young Guv, The Apples In Stereo, The Raspberries, and Sharp Pins, “Minor Key” peels back another layer of an album that stretches far beyond the jangling power pop foundations of The Goods’ earlier work. Some records take years to write. Goodbye Summertime seemed to write itself. “My whole life turned upside down one summer,” recalls Good. “The long-term relationship I was in collapsed, and in the wake of that, I found new love. I was sorting through the grief and failure of my previous relationship and the bliss and anxiety of my new one all at once, all while basically living at my recording studio, and I found myself in an intensely creative state.” The songs came fast. “I’d be experiencing some crazy high or crushing low, and I’d write a song about it and immediately record it. Many of these songs are real-time accounts of what I was going through in those moments.” That urgency finds its emotional center on “Minor Key,” a wistful farewell to someone left behind. While “Summer’s Almost Gone” urged listeners to embrace the present before it disappeared, “Minor Key” lingers in the quiet after the moment has already passed. It’s a song for the drive home after last call, watching the Bay Bridge disappear into the fog in the rearview mirror, replaying conversations you wish had ended differently. As Good puts it, it’s simply “a bittersweet goodbye to someone left behind.” Across Goodbye Summertime’s fourteen tracks, Good follows those emotional threads wherever they lead. The Revolver-inspired haze of “Lazy,” the Mellotron-soaked melancholy of “Punchbowl,” the vulnerability of “Wing,” and the slow-building Wurlitzer crescendo of album closer “Sleepytime” reveal a songwriter widening his palette without sacrificing the hooks that first put The Goods on the map. Produced by Good in his Oakland studio, with contributions from Cherron Arens, Yea-Ming Chen, and Ian McBrayer, then mixed and mastered by Bart Thurber, the record feels expansive without losing the intimacy of its origins. Picture Credit: Corey PolukThe Goods OnlineINSTAGRAM | SPOTIFY | BANDCAMP | APPLE The Goods LiveRecord Release show – Sept 2026 @ Little Hill, El CerritoEuropean Tour September 23 – October 18 Checkout my YouTube Channel with long form interviews from the Subversives | the History of Lowest of the Low. https://www.youtube.com/playlist?list=PL9d1VSeOHYuxFWKuRdmn9j8UTW6AHwS_fAlso my Weekly Tour Vlog is up an live on the YouTubeshttps://www.youtube.com/playlist?list=PL9d1VSeOHYuwphwhc4zd0VgY66f1OUQZp Pledge monthly with Patreon https://www.patreon.com/apologueShop Apologue products at http://apologue.ca/shopCheck out new Four Square Here: https://distrokid.com/hyperfollow/foursquare/brighton-beach-ephttps://distrokid.com/hyperfollow/foursquare/seven-oh-sevenhttps://distrokid.com/hyperfollow/foursquare/industry-at-home–21st-anniversary-remix-remasteredhttps://distrokid.com/hyperfollow/foursquare/when-weeks-were-weekends

Ontario punk trio Among Legends come out swinging on Lose My Grip. The band’s second full-length album, out July 10, 2026, moves fast, hits hard, and rarely lets up, pulling from the melodic urgency of Bad Religion, the road-tested punch of The Flatliners, and the hook-heavy energy that defined southern Ontario punk through the 2000s. Produced, engineered, mixed, and mastered by Matt Gauthier at ARC Recording Studio and This Place Needs A Name, the record leans further into speed, tension, and sharper edges without losing the melodies that got the band here in the first place. That balance shows up immediately across the album’s twelve tracks. Lead single “H/A/C/K” came out swinging with tight guitars, biting rhythms, and a heavier sense of frustration running underneath the hooks, while “Floating Here For Years” pulled things inward, trading pure momentum for something more restless and reflective. Together, they pointed toward a record that sounds bigger, louder, and more confident in itself than anything Among Legends have released before. Formed in 2016, Among Legends built their foundation the long way. Self-released EPs, DIY spaces, weekenders, festivals, basement shows, and years spent hauling gear through clubs and bars across Canada and the United States. Their 2022 debut full-length Take Good Care, produced by Siegfried Meier, earned praise from BrooklynVegan, Exclaim!, PunkNews, New Noise Magazine, and Idobi Radio, with BrooklynVegan describing the record as “one ripper after another.” But even then, the band was already heading somewhere else. Recorded in 2019 and delayed until 2022, Take Good Care captured a lineup and sound that no longer fully reflected where Among Legends were going. In the years that followed, lineup changes stripped the band back to its core, with Mitchell Buchanan and Sara Fellin carrying things forward and rebuilding the group into the trio it is today. Rather than slow them down, the change sharpened the focus.  Lose My Grip feels less interested in fitting neatly into modern pop punk and more committed to the kind of melodic punk that sounds raw, immediate, and human. “Our last record came out four years ago, but it was recorded seven years ago. We’re not the same band anymore and I think that’s evident in the way this record sounds,” says vocalist/bassist Mitchell Buchanan. “Stability has been a hard feeling to find in recent years, and this record covers some of the different experiences that come with instability. It’s a lot of looking around and asking ‘how did we get here,’ whether that’s about the state of our countries, our communities, our relationships, or ourselves.” You can hear that especially on “Go On,” one of the album’s strongest tracks and emotional centerpieces. Built around a push-and-pull between vulnerability and avoidance, the song cuts through with lines like “I say I’ll come but we both know I won’t,” capturing the tension between wanting connection and keeping yourself at arm’s length from it. Across the album, relationships drift, routines calcify, and uncertainty hangs overhead, but the songs never stay still long enough to drown in it. Among Legends Online INSTAGRAM | SPOTIFY | BANDCAMP | FACEBOOK | WEBSITE | YOUTUBE Checkout my YouTube Channel with long form interviews from the Subversives | the History of Lowest of the Low. https://www.youtube.com/playlist?list=PL9d1VSeOHYuxFWKuRdmn9j8UTW6AHwS_fAlso my Weekly Tour Vlog is up an live on the YouTubeshttps://www.youtube.com/playlist?list=PL9d1VSeOHYuwphwhc4zd0VgY66f1OUQZp Pledge monthly with Patreon https://www.patreon.com/apologueShop Apologue products at http://apologue.ca/shopCheck out new Four Square Here: https://distrokid.com/hyperfollow/foursquare/brighton-beach-ephttps://distrokid.com/hyperfollow/foursquare/seven-oh-sevenhttps://distrokid.com/hyperfollow/foursquare/industry-at-home–21st-anniversary-remix-remasteredhttps://distrokid.com/hyperfollow/foursquare/when-weeks-were-weekends

Last Second Dropout (Canadian led band, formed at Berklee and based in Brooklyn) returns with a reimagined version of their song “Aspartame,” available on all streaming platforms June 12. Last Second Dropout – “Aspartame” – Digital Assets Originally released earlier in the band’s career, the new version, produced by Garth Richardson, captures both the evolution of the band’s sound and the perspective that comes with revisiting a song years later. Blending pop-punk, alternative rock, emo, and hip-hop influences, “Aspartame” pairs explosive guitars and emotionally charged vocals with modern production and a sharper sense of urgency. Canadian lead singer Mark MacDonald explains: “’Aspartame’ is about the difference between the truth of what power people and corporations try to tell you is the truth. It’s also about Diet Coke unless you’re Coca-Cola and you’re gonna sue us then it’s about Diet Pepsi.” Last Second Dropout is a NYC/Toronto-based alternative band that is a little pop-punk, a touch emo, a tad alternative rock and with some hip-hop influences, that create emotionally driven songs built for both catharsis and connection. Known for high-energy performances and emotionally honest songwriting, the band continues to grow through touring, independent releases, and a dedicated online fanbase. Social LinksWebsiteSpotifyApple MusicInstagramFacebookTikTokYouTube Checkout my YouTube Channel with long form interviews from the Subversives | the History of Lowest of the Low. https://www.youtube.com/playlist?list=PL9d1VSeOHYuxFWKuRdmn9j8UTW6AHwS_fAlso my Weekly Tour Vlog is up an live on the YouTubeshttps://www.youtube.com/playlist?list=PL9d1VSeOHYuwphwhc4zd0VgY66f1OUQZp Pledge monthly with Patreon https://www.patreon.com/apologueShop Apologue products at http://apologue.ca/shopCheck out new Four Square Here: https://distrokid.com/hyperfollow/foursquare/brighton-beach-ephttps://distrokid.com/hyperfollow/foursquare/seven-oh-sevenhttps://distrokid.com/hyperfollow/foursquare/industry-at-home–21st-anniversary-remix-remasteredhttps://distrokid.com/hyperfollow/foursquare/when-weeks-were-weekends

Born out of a long-distance correspondence, Sweden/New York-based transatlantic duo Fuses craft songs that feel like signals sent across oceans. Their debut album ,Sawdust in the Transmission out June 26 via Having Fun Records, the rock imprint of Toronto’s We Are Busy Bodies, bridges geography and emotion with a sound steeped in 60s folk rock and classic country. Echoing the timeless jangle of The Byrds, the pastoral storytelling of Fairport Convention, and the bittersweet warmth of artists like Gram Parsons and Jason Molina, the record connects the Swedish urskog with the Canadian muskeg. Lush vocal harmonies and reverb-soaked steel guitar create a sound that is both melancholic and hopeful, timeless yet uncommon.Drummer and bassist Moa-Linn Rosenlöf (Orkan, Spela Död) first met guitarist Craig Fahner when his Toronto-based group Motorists played Gothenburg in 2024. What began as a chance meeting quickly evolved into a daily creative exchange. Plans to reunite in New York City were ultimately derailed by visa complications, but the setback became the catalyst for the album. Instead, the pair spent a week sending Ableton sessions back and forth across the Atlantic, planting the seeds for a collection of songs that would later be brought to life during a dedicated recording session at Gothenburg’s legendary Nacksving Studios, a site deeply connected to Sweden’s 1970s political progg movement. The week proved especially momentous: the day after completing the recordings, the duo traveled to a courthouse in Borås and were married, sealing both their creative and personal partnership.

Founded in 1992 by the larger than life, Scottish punk-rock poet laureate, Mr Paul McKenzie, this merry band of miscreants has spent more than three decades circumnavigating the globe to bring the McKenzies gospel to an ever-expanding throng of rebels, scallywags and ne’er do wells. There’s not many bands that can boast of a 30+ year career as staggeringly adventurous, wildly tempestuous and utterly death-defying as The Real McKenzies. It would be a serious mistake to write them off as just another Celtic punk band (they’ve been around longer than the Dropkick Murphys after all). They are an unstoppable juggernaut of touring mayhem. A ferocious troupe of insanely talented minstrels, storytellers and entertainers melding traditional acoustic and electric instruments to create a sound like no other. Their list of accolades is long. From sharing the stage with the likes of NOFX, Rancid, Flogging Molly, Metallica and Shane McGowan to appearing in film, books and video games to early releases with the almighty Fat Wreck Chords, their legendary status only continues to grow. On Yer Bike is an absolute beast of an album. A newly revitalized and laser-focused Paul McKenzie has never sounded better and his longtime bandmates have never been tighter. Boasting thirteen epic tracks, including the Sawney Bean trilogy (a trio of songs about  Scotland’s most infamous cannibal highwayman), the songs rage across topics including but not limited to love, literacy, historical sagas, eating sardines with your mother and, of course, cannibalism. Soaring bagpipes, heart pounding percussion and ultra melodic shoutalong Celtic punk rock are the orders of the day and are delivered piping hot from one of the most respected and adored pioneers of the genre. The Real McKenzies Online INSTAGRAM | SPOTIFY | BANDCAMP | FACEBOOK | WEBSITE | TWITTER | TIKTOK Checkout my YouTube Channel with long form interviews from the Subversives | the History of Lowest of the Low. https://www.youtube.com/playlist?list=PL9d1VSeOHYuxFWKuRdmn9j8UTW6AHwS_fAlso my Weekly Tour Vlog is up an live on the YouTubeshttps://www.youtube.com/playlist?list=PL9d1VSeOHYuwphwhc4zd0VgY66f1OUQZp Pledge monthly with Patreon https://www.patreon.com/apologueShop Apologue products at http://apologue.ca/shopCheck out new Four Square Here: https://distrokid.com/hyperfollow/foursquare/brighton-beach-ephttps://distrokid.com/hyperfollow/foursquare/seven-oh-sevenhttps://distrokid.com/hyperfollow/foursquare/industry-at-home–21st-anniversary-remix-remasteredhttps://distrokid.com/hyperfollow/foursquare/when-weeks-were-weekends

“Jennifer Foster’s new album Powerline is a wonderful collection of songs. No shortage of sweet melodies or intimate lyrics, and all sung in a voice that is lovely and unpretentious” – Ron Sexsmith Jennifer Foster is a Canadian singer-songwriter whose music blends classic pop-folk songwriting with warmth, curiosity, and emotional honesty. Her songs are hooky and heartfelt, inviting listeners in with melody and drawing them closer through her vivid storytelling. Her new album, Powerline, out in April, is an acoustic-driven collection that offers Foster’s most personal songwriting to date. Part love letter, part map, many of the songs were inspired by the New Brunswick farm where she grew up – colourful snapshots of the landscape that shaped her, and of her rich inner world as she navigates relationship, loss, and change. It’s a goodbye to a time, place, and version of herself. Powerline marks Jennifer’s fourth release; her previous album earned a JUNO nomination for Producer of the Year (Michael Phillip Wojewoda). She has collaborated widely across the Canadian music landscape, working with artists such as Ron Sexsmith, Carole Pope, Lori Cullen, Kevin Hearn (Barenaked Ladies), Moe Berg, and The Pursuit of Happiness. You might also recognize her from her five seasons singing as a “Jazzagal” on Schitt’s Creek. Whether she’s playing with her four-piece band or holding a room solo, it’s her warmth and authenticity that draw audiences in. “It was my dad’s dream to have a farm. But he was learning as he went, so my whole upbringing was about experimentation and play”. Like a hobby farm where you find your way and make things up as you go along, Jennifer’s songs have a way of taking listeners to unexpected places – disarming, soul-deep, and very satisfying. Social Links:FacebookInstagramBlueskySpotifyApple MusicYouTubeBandcamp Checkout my YouTube Channel with long form interviews from the Subversives | the History of Lowest of the Low. https://www.youtube.com/playlist?list=PL9d1VSeOHYuxFWKuRdmn9j8UTW6AHwS_fAlso my Weekly Tour Vlog is up an live on the YouTubeshttps://www.youtube.com/playlist?list=PL9d1VSeOHYuwphwhc4zd0VgY66f1OUQZp Pledge monthly with Patreon https://www.patreon.com/apologueShop Apologue products at http://apologue.ca/shopCheck out new Four Square Here: https://distrokid.com/hyperfollow/foursquare/brighton-beach-ephttps://distrokid.com/hyperfollow/foursquare/seven-oh-sevenhttps://distrokid.com/hyperfollow/foursquare/industry-at-home–21st-anniversary-remix-remasteredhttps://distrokid.com/hyperfollow/foursquare/when-weeks-were-weekends

Los Angeles, California’s J MAU & THE KISS OFF emerge from what they lovingly call their “beloved hellhole” with their debut single “Poison,” out March 25. Founded in 2025 by Justin “J Mau” Maurer, longtime punk lifer and founder of Clorox Girls, Suspect Parts, L.A. Drugz, and Maniac, the project finds Maurer turning toward something darker and dustier without losing the bite that’s always defined him. “Poison” is a cinematic honky tonk murder ballad filtered through decades of West Coast punk history. It’s the first glimpse of a songwriter who’s always followed the feeling, even when it led somewhere uncomfortable. Maurer’s story isn’t mythology. It’s messy and real. A CODA raised between Los Angeles and Bainbridge Island by a single Deaf mother, American Sign Language was his first language. Punk became his second. After surviving a turbulent childhood and helping put his abusive father in jail as a teenager, Maurer found autonomy in the underground. By fifteen he was booking shows and touring. By twenty he was releasing records and circling the globe with Clorox Girls. Along the way he built a parallel career as one of the country’s most respected ASL interpreters, working alongside prominent political figures like Michelle Obama, Bernie Sanders, Elizabeth Warren, Gavin Newsom, Kamala Harris, and Joe Biden, stage interpreting for punk legends like Alice Bag and The Avengers, interpreting Deaf actor Troy Kotsur’s historic 2022 Academy Award acceptance speech, and appearing with Kotsur on Curb Your Enthusiasm. His life has always moved between worlds. After stints living in Madrid, London, and Baja California, and in the wake of a divorce that leveled him, Maurer found himself flat on his back in an East Hollywood apartment, cowboy boots still on, old country records spinning. Hank Williams. Buck Owens. Merle Haggard. Gram Parsons. Kris Kristofferson. Townes Van Zandt. He finally understood it. “Real country music is poetry,” Maurer says. “It’s about failure, heartbreak, and the tragic human condition. Music to laugh and cry and live and die by.” That rock-bottom clarity led him to write “Poison.” Recorded at Savannah Studios in Boyle Heights with Ignacio “Iggy” Gonzalez and backed by Patrick “Butterworth” Vasquez and Kevin “Quake” Milner, the track moves like a slow-burning reckoning. Acoustic strum, restrained rhythm, and a haunted vocal that feels equal parts confession and warning. From his window in Pico Union, Maurer could hear children playing at the elementary school across the street. Listening to old country compilations full of doomed protagonists, he imagined himself as a man on the run whose days were numbered, watching that schoolyard and knowing he might never see it again. That’s where the line came from: “When will you see the children play / You never will again.” The refrain doesn’t comfort you. It circles back like a hard truth you can’t shake: “It’s got a way / That poison’s got a way / It’s got a say / It’s got the final say.” The single arrives with an 8mm-shot video co-directed by Maurer’s former MANIAC bandmate Zache Davis and Marta Ribate Gracia-Davis. Grainy, sun-bleached, and edited with a careful hand, it plays like a spaghetti western fever dream, a corrido where the protagonist must confront how he’ll be remembered before the end comes calling. The artwork, designed by longtime collaborator Matthew “Snake” Davis, leans into vintage flash tattoo skulls and silent-film menace. J MAU & THE KISS OFF OnlineINSTAGRAM| SPOTIFY| BANDCAMP| FACEBOOK| YOUTUBE Checkout my YouTube Channel with long form interviews from the Subversives | the History of Lowest of the Low. https://www.youtube.com/playlist?list=PL9d1VSeOHYuxFWKuRdmn9j8UTW6AHwS_fAlso my Weekly Tour Vlog is up an live on the YouTubeshttps://www.youtube.com/playlist?list=PL9d1VSeOHYuwphwhc4zd0VgY66f1OUQZp Pledge monthly with Patreon https://www.patreon.com/apologueShop Apologue products at http://apologue.ca/shopCheck out new Four Square Here: https://distrokid.com/hyperfollow/foursquare/brighton-beach-ephttps://distrokid.com/hyperfollow/foursquare/seven-oh-sevenhttps://distrokid.com/hyperfollow/foursquare/industry-at-home–21st-anniversary-remix-remasteredhttps://distrokid.com/hyperfollow/foursquare/when-weeks-were-weekends

Oakland, California’s Lethal Limits is the solo project of Jeff Corso, a Bay Area punk lifer raised on coastal fog, cracked sidewalks, and the kind of East Bay shows that smelled like dust, sweat, and wet concrete. Based in Oakland and hailing from Half Moon Bay, Corso has spent decades inside the region’s punk and hardcore underground. Elevate, his new EP out March 13, 2026, lands like a familiar jolt. Four songs. No filler. Loud, melodic, and wired with the same nervous energy that once spilled out of basements, skate ramps, and all-ages rooms up and down the 510. Lethal Limits lives where punk crunch meets power pop clarity. The songs hit fast but linger, built on hooks that feel learned the hard way. There’s a strong 90s backbone running through Elevate, the kind that recalls flyer-stapled lampposts, Gilman Street matinees, and the melodic punch of bands like Hüsker Dü and The Pixies without drifting into revival territory. Corso writes like someone who came up when melody mattered just as much as volume, and when songs had to survive blown PAs and half-attentive rooms. Arriving nearly four years after Lethal Limits’ self-titled debut, a roughshod, self-produced full-length that quietly turned heads, Elevate shows a project sharpening its instincts. The edges are still intact, but new shades creep in. There’s flashes of Thin Lizzy-style guitar swagger, heavier 90s grunge weight, and a thicker low end, all while keeping the choruses front and center. It sounds like the natural evolution of someone who grew up on punk, skate videos, and college radio, then kept writing long after the scene changed. Recorded between February and April 2025 by Corso at Vam Vam Studios in Oakland, Elevate was mixed and mastered by Jack Shirley at Atomic Garden, giving the songs clarity without sanding off their grit. Corso handles nearly everything himself, guitars, bass, vocals, keys, tambourine, while drums from Aesop Dekker (Hickey, Ludicra, Agalloch) add weight and precision beneath the hooks. The result feels immediate and human, like a band playing live in a room, not chasing perfection but locking into feel. Photo Credit: Tom “da bomb” CorsoLethal Limits OnlineINSTAGRAM | SPOTIFY | BANDCAMP | YOUTUBE Checkout my YouTube Channel with long form interviews from the Subversives | the History of Lowest of the Low. https://www.youtube.com/playlist?list=PL9d1VSeOHYuxFWKuRdmn9j8UTW6AHwS_fAlso my Weekly Tour Vlog is up an live on the YouTubeshttps://www.youtube.com/playlist?list=PL9d1VSeOHYuwphwhc4zd0VgY66f1OUQZp Pledge monthly with Patreon https://www.patreon.com/apologueShop Apologue products at http://apologue.ca/shopCheck out new Four Square Here: https://distrokid.com/hyperfollow/foursquare/brighton-beach-ephttps://distrokid.com/hyperfollow/foursquare/seven-oh-sevenhttps://distrokid.com/hyperfollow/foursquare/industry-at-home–21st-anniversary-remix-remasteredhttps://distrokid.com/hyperfollow/foursquare/when-weeks-were-weekends