When you think of punk bands, you’re probably thinking of New York, London, maybe the Bay Area. Prince Edward Island may not be the first place that comes to mind, but TeethOut is here to say “don’t sleep on the Maritimes”. With a newly stabilized 2026 lineup and a commitment to community over commercial success, the band is moving forward under the philosophy that life is short, and they want to make the most of it. They may have families, mortgages, bills to pay - they’re not kids anymore, but this brand of high-energy punk speaks for itself. We had a chance to sit down with them and find out why waiting for the perfect moment just might not be as important as finding the right moment.

You can catch a lot of great bands at Hardcore in the 914, the monthly show put on by NYHC Comics, and one band that really blew us away was White Plains’ own I Destroyer. Their music features heavy, shredding guitar, complex bass lines and drums so fast that we actually had to ask how many BPM Michael could play (and now we regret asking, as you’ll see). While their proposed “Deathchester Festival” may or may not come to fruition, there’s no question these guys are out there representing the 914 to the fullest. We had a chance to sit down with them for a wide ranging interview covering backline misunderstandings, restaurant encounters, and how a self-described “lazy as fuck” band can put out the energy that they do.

Wonderland Rejects is a Bay Area-based trans trio whose new album Hello, Rejects mixes their raw riotgrrl punk sound with a triple-shot of grunge, blues, and funk. From Alice’s combative vocals and guitar work to Dolly’s steel chain to the face bass lines to Kitty’s riot-inducing drumming, you can’t escape the storm they brew in the studio and on stage. If you’re burnt out, if you’re angry, if you’re blue, if you’re queer, then you’ll wanna play their new tracks fucking loud. knifetwister records new york spoke with Wonderland Rejects after they finished up their Pride Month concerts.

It may not seem that hard to make a living as an online content creator - scroll through your feed and you'll see hundreds of videos with hundreds of thousands of views. This ignores the reality - on YouTube, which has 100 million active channels, less than 0.02% are able to make it a full-time profession. You have to be interesting, insightful, and determined. That's Mike Figueredo.

As the host of the The Humanist Report, he's known for breaking down complex political and economic from a leftist perspective, critiquing corporate influence in politics and advocating for the working class. Through his work, he's built a dedicated following for his analytical approach to media and political discourse. We're pleased to have the opportunity to interview him and learn more about what makes him tick.

We were warned about this band. By the band themselves.

The Karens are a trans-fronted horrorpunk band that blends aggressive, high-energy punk with dark, theatrical energy while tackling themes of political resistance and queer resilience. Their sound may have evolved from a joke, but there are some serious undercurrents here, addressing real-world issues like transphobia and genocide. How does that square with songs like, for instance, My Husband Got Fucked By A Werewolf?

Somehow, it works. And if you don’t like what they have to say, you should probably ask to speak to a manager, because The Karens aren’t gonna care.

If you don’t know who The Kulprits are, then you certainly were not in attendance at Hardcore in the 914 Fest earlier this month, where they definitely opened some eyes.

The Kulprits craft their high-energy Hudson Valley punk sound through meticulous songwriting, polished vocals and a tight rhythm section, creating an unexpected chemistry on stage and in the studio. Through lineup shifts and a few growing pains, this five-piece outfit has channeled their collective experiences into the aggressive, catchy tracks of their upcoming Sick And Tired EP, fueled by a relentless live energy that thrives from tiny clubs to (the aforementioned) festival stages.

Seattle’s Güero Brown mixes rock with global influences, celebrating diversity through the band’s very name - a blend of white and brown. Their high-energy music combines catchy melodies with thoughtful lyrics about unity and social issues. With a frontman who speaks several languages and draws inspiration from cultures around the world, the band creates songs that feel both personal and universal. Including saxophone and keyboards alongside classic rock instruments, they bring an energetic, inclusive spirit to every show.

We interview punk bands, punk organizations, punk labels, other punk magazines - you get the idea. Yet every so often we wind up interviewing someone who fully embodies the punk ethos without ever tuning a bass or hauling an amp through the stage door of a dingy club in Brooklyn.

Suing the state of Georgia over forced anti-BDS pledges? Making a documentary about the brutality in Gaza - not in 2026, with increasing popular support, but seven years earlier? That’s punk.

This interview is thoughtful, opinionated, and scathing in it’s criticism. Many forms of journalism may have largely lost it’s teeth these days, but don’t tell Abby Martin that.

Scaffolding emerged from Rhode Island's DIY music network, with a sound centered on layered guitar work consisting of both melodic phrasing and driving rhythm. The band maintains a rigorous rehearsal schedule, which translates into tightly executed, emotionally direct performances. Their recent songwriting has shifted, delving more into blending personal themes with sociopolitical content. The band actively participates in local community organizing, framing live shows as collective engagements with their audience. The group also explores external collaborations, spreading their wings into including dance-oriented remixes, which serve to sustain stylistic variation over time. We’re pleased to have had a chance to sit down with them for an interview.

The misery of Election Night 2024 actually brought something worthwhile: the founding of Black Gold Sun. Founded as an act of communal resilience, the the the Bay Area punk trio channels raw fury and collective catharsis into their music. Their debut EP, arriving on Juneteenth, surges with volatile contrasts - tension collapsing into explosive, unfiltered release. Anchored by a fierce, instinctive chemistry among three Black women, the band transforms every live set into a shared emotional uprising rather than a polished performance. This is music meant to jolt listeners awake, pull strangers together, and turn heavy times into liberating, joyous noise.

Direct from the 914, the hardcore/thrash band Omnism emerged from two and a half decades of shared musical history among its members. Their sound fuses the raw aggression of hardcore with the technical ferocity of death metal, creating a groove-laden, riff-heavy attack that reflects the eclectic tastes within the group. Drawing inspiration from the melting pot of New York’s ’80s and ’90s underground scenes, the band prioritizes dynamic flow and passionate collaboration over compromise. With their latest album, A Sleeper Awake, they deliver an experience that balances crushing intensity with nuance, solidifying their place in the local scene and beyond.

After a fourteen-year run as Ryan Hanratty’s solo acoustic venture, the project known as Catch Me If You Can has never shied away from blending punk energy with folk storytelling. It’s latest single emerged from an accidental ska influence, transforming anxious themes into an unexpectedly bright, horn-driven bounce. Despite a three-year recording hiatus, Ryan never considered abandoning the outlet, viewing past basement gigs and open mics as essential fuel rather than mere nostalgia. Each live performance remains a raw, stripped-down exchange between a performer and an acoustic guitar.

Alsatian Eyes, a UK post‑punk band, forge their corroded, theatrical sound not from the odd contrast of a teenage angel‑voiced frontwoman and a 46‑year‑old bassist with a broken back, but from the raw experience of surviving pain, addiction, and mental illness. Their creative energy emerges through collective collaboration, where every member adds what they call “greasy acidic fingerprints” to steep the music into a beautiful, corroded patina. Onstage, they reject mundane pub gigs in favor of liberating fuckery, wanting audiences and venues alike to feel, if only for a moment, the freedom to live as they choose. Ultimately, the band’s post‑punk pulse comes from endurance and mutual respect, not demographic gimmicks, proving that tension arises from life’s hardships, not from who stands next to whom.

Hailing from The Beehive State (yeah, we had to look that up), the punk outfit Feral!Cat?Red! crafts a chaotic fusion of sludge, doom, mathcore, and hardcore. Their debut EP, How Do You Know, When You Are Old Enough To Know Better?, channels raw emotion and gritty experimentation, unleashing frantic, disheveled energy. Drummer Sam plays as if his life depends on it, while bassist-vocalist Annie delivers guttural, desperate screams that intertwine with Ben’s distorted guitar thrashing. After a memorable set at Utah’s women-led BITCHFEST, the band continues to collect sticky notes from fans and leave crowds disoriented and exhilarated.

Celebrating their second birthday this month, Creeping Embers is a Brighton-based punk outfit whose all-trans, disabled-led lineup channels raw theatricality into every performance. Their sound jumps between folk, gothic rock, and riot grrrl, using aggression, humor, and abrupt genre shifts to mirror the identities within the group. Onstage, front members douse themselves in blood, transforming visceral chaos into a defiant reclamation of space for queer and disabled bodies. By blending biting social commentary with absurdist wit, the band ensures that their fight against transphobia and misogyny remains both loud, in your face and unable to ignore.

Blending the ferocious energy of punk with the rawness of emo and the unpredictable textures of alternative rap, L‑Punk erupts as a distinctly chaotic force forged in the crucible of New York City. Fronted by Venezuelan emigre Luijo, the band channels the jarring collision of displacement and urban intensity into a loud, unapologetic sonic universe where dark humor and spiritual yearning clash head-on. Their live performances - whether at hallowed grounds like Mercury Lounge or scrappy DIY spaces - transform audiences into a collective, driven by a rebellion that refuses neat genre boundaries. With a debut album structured like a flickering old television and a fierce dedication to connecting with outcasts everywhere, L‑Punk proves that authentic punk isn’t a closed set but a volatile, living contradiction.

The Northeast corridor band B00B (NYC/Philly) thrives in gritty, unconventional spaces, from dingy punk basements to secretive outdoor raves under bridges, where the element of risk heightens the excitement of their performances. While their debut leaned toward a ‘90s skate-punk feel, the band’s upcoming material pushes into more aggressive, ‘80s-inspired thrash and street punk territory. Ultimately, B00B identifies firmly as a queer punk act, creating music and shows intended first and foremost for queer punks, even as they welcome all who appreciate their fierce, unapologetic sound.

Hailing (like us) from the Bronx, Xtinguish The Code channels a working-class ethos into hardcore that is both brutally aggressive and unflinchingly political. Their latest EP, The Conflict, was shaped by a series of social and political crises - from Citizens United to ICE raids - rather than a single event, reflecting a deep solidarity with marginalized communities. Rooted in traditional New York hardcore, they preserve essential elements like two-step rhythms and crushing breakdowns while infusing their own style to match the stark realities they explore. A credo? As they point out, there are more of us than there are of them.

For nearly two decades, this Brooklyn trio has forged a distinctive fusion of blackened shoegaze, thrash, and glam rock theatricality. Their enduring cohesion stems not from commercial ambition but from a deep-rooted friendship and a shared, unwavering devotion to musical exploration. They prioritize songwriting over genre constraints, often composing raw ideas on acoustic guitars before layering their signature chaos with distortion and delay. This approach allows them to seamlessly blend unlikely elements - like a Metropolitan Opera vocalist or the kinetic energy of outdoor skate events - into a sound that remains both brutally heavy and surprisingly melodic.

If you know F.A.T. Betty just from seeing them on YouTube, you’re missing out on a good part of their story.

Hailing from Northern California, an area steeped in music history, F.A.T. Betty is a teen rock band that defies easy labels. Blending complex jazz theory with classic rock energy and funk grooves, the group catapulted from humble open mics to headlining the Fairfax Festival Main Stage after their cover of Rush’s “The Spirit of Radio” unexpectedly went viral. The band balances ambition and a jazz-schooled rhythm section, all while looking forward to festivals, continued online success and figuring out how to keep their unique chemistry alive beyond high school.