A Return to Primitive Instincts
Digital music libraries may have rendered the traditional maxi single obsolete, often reducing the format to a vehicle for bulk-releasing remixes to juice streaming numbers. However, Chicago punks Lifeguard have reclaimed the format with their latest release, Ultra Violence / Appetite. Rather than acting as a mere collection of B-sides, this maxi single serves as a testament to the band’s creative evolution, proving that their output is far more than simple imitation.
Following their Matador debut, Ripped and Torn—a record that masterfully embedded power-pop melodies into dense, shreddy punk—Ultra Violence / Appetite finds the trio of Kai Slater, Isaac Lowenstein, and Asher Case moving in a scratchier, more primitive direction. It is a sonic shift that recalls the raw, jam-centric energy of their early EPs, while maintaining the structural integrity they have cultivated over the years.
The Anatomy of the Maxi Single
The title track, “Ultra Violence,” feels like a spiritual successor to 2022’s Crowd Can Talk. It features a lead riff sliced into thick, jagged slabs, anchored by a manic, Margin Walker-esque bassline. The track’s minimalist, talk-sung vocals are perfectly complemented by a lighter, reactive vocal response, allowing the band to utilize their seven-minute runtime to explore instrumental micro-songwriting. Recorded via 8-track with a focus on the tactile crunch of cassette audio, the release captures the band at their most instinctive and volatile.
The project is a masterclass in the beauty of outtakes. The “Manhunt” trilogy, despite totaling less than a minute, constructs a menacing film noir atmosphere through atonal keys and the hiss of tape. Meanwhile, the two versions of “Blatant” showcase the band’s no-wave influences, with discordant guitar screeches and heavy delay-pedal experimentation that push the boundaries of their established sound.
A Masterclass in Pop Sensibility
Amidst the experimental noise, “Appetite” stands as a reminder of Lifeguard’s core strength: their ability to write a genuinely compelling pop song. The track is libinous and catchy, with a hook that burns with the intensity of a Suicide sleeper hit or the bright, claustrophobic fuzz of The Undertones. It is a fully-formed centerpiece that, despite being strung together with static, highlights the band’s commitment to their craft.
As Case sings in the chorus, “Oh, I’ve been waiting at the seams / To tear them out, to afford my dreams,” it becomes clear that this release is an embodiment of the force driving the band: a desire to tear into their own sound without hesitation and see what remains in the tatters. Ultra Violence / Appetite is not just a collection of songs; it is a bold statement of intent from one of the most exciting bands in the current punk landscape.
