Seattle-based Stereo Creeps just dropped their new full-length album, Suck. Although the band has gone on record denouncing its conformity to any one genre — instead, choosing to cite varied influences such as early art punk and noisy psych-rock — Suck remains a cohesive body of work. Through loud, confronting sounds, and well-articulated lyrics that play off this combobulation of background noise, the album’s 13 tracks form a stream of unfettered emotion.

Stereo Creeps juxtaposes side one and side two of the album’s vinyl version as “The Party” and “The Hangover,” respectively. Through this classification, listeners become immersed in the single experience of an endless party, which merely takes a new, equally entertaining form as the sun rises. 

The majority of the tracks on Suck are between two to three minutes in length. This “small dose” format proves beneficial for the album, as the gritty tracks are chock full of abrasive, often clamorous sounds. “They’re All The Same,” which falls just under three minutes, begins with menacing riffs but then transitions to incorporate punchy lyrics that take on traditional gender norms that propagate modern misogyny: “boys will always be boys / they’re all the same.” On this track, the frustration evident in the lyrics is enhanced by the equally angry playing of backing instruments.

“Hot Apartment!” — the shortest track, at under two minutes — has a forceful backing beat that rises in intensity as the song nears its conclusion. Hot-blooded and thunderous, “Hot Apartment!” takes the form of some momentary, wild inhibition. But, as soon as it gets you dancing, it reaches a roaring conclusion. Another track, “Projector Head,” employs a crashing bass similar to that of “Hot Apartment!,” and, notably, de-escalates these sounds to lend greater space to Sean Moe’s vocals. Both songs exemplify the band’s mastery of producing emotionally-cathartic instrumentation that leaves listeners wanting more.

As the album progresses, the tone of each track gets darker and distinctly more self-aware. As listeners transition from “The Party” to “The Hangover,” reckless behavior from the night before is called into question, and pent up emotions (exacerbated by participants’s exhaustion) are released in a dramatic fashion. 

Throughout the album, the sounds of the guitar, bass, and drums frequently blend (but never clash) to create a heavy undercurrent that bolsters the clarity and impact of the narrative lyrics. Tenth track “Not Going Anywhere” is one of the few on the album that emphasizes vocals over instrumentation; this stylistic choice complements the track’s resounding static beat and showcases Moe’s effort to maintain resilience in the face of self-doubt. The emotions permeating this track — perseverance and an unflinching resolve to carry on — are heavy in nature but offer a hopeful message on sticking around. If not for yourself, for the people standing in your corner.

The standout from Suck happens to be its final track, “Have I Been Erased?” Softer (by Stereo Creeps standards) instrumentation and vocals make this song feel like the album’s conclusion: listeners are winding down after the chaos of a night out with friends and the hazy morning of regrets that follow. The lyrics of this track also offer hopeful suggestions on how to combat life’s darker points, such as reaching out to loved ones or loved places. Overall, “Have I Been Erased?” is intended to wrap up, in as neatly of a way as possible, the stream of actions and emotions released by the previous twelve songs.

Stereo Creeps Suck is, ultimately, a loud and confronting album, with lyrics that use this noise to their artful advantage. The album is a two-part narrative, taking listeners through the ups and downs of a wild night out and its less desirable counterpart: the morning after. Suck is messy and unrestrained in its harshly honest depiction of a regrettable yet ultimately enlightening human experience.

Suck

9.2

Cohesion

9.2/10

Instrumentation

9.5/10

Vocals

9.0/10