New Politics released a new single on Sept. 23 to give listeners a taste of what their third album could entail.

This is the Denmark band’s fifth single since they formed in 2009. With the success of their biggest hit “Harlem” last year, the band landed opening spots on desirable tours such as Fall Out Boy, Paramore, and Pink. Their current headlining tour is guaranteed to propel them into the realm of more recognizable alternative rock bands.

“Everywhere I Go (Kings and Queens)” is geared toward young adults, ideally college-age, who just want to hear a song they don’t have to think about. The commanding tone of the song is full of angst and demands attention. While it may seem like an immature theme, everyone needs a full-out reckless anthem to turn the mood around after a long day. The lead vocalist chants “All the giving, the taking, the taking, the giving/We’ve taken enough, it’s enough, it’s enough/So just sing.” With the thumping drum beat and persistent lyrics, the energy is relentless.

The song is easily relatable for those times when you’re just fed up with the ways of the world, which can be fairly often. The only issue with the single will be increasing the popularity via radio because of the countless f-bombs dropped throughout.

3.5/5

The likes of Billy Burke, Anthony Boyer, and David Cook comprise Sydney’s own hardcore punk-imbued trifecta of kickass disarray that is Yes I’m Leaving, and after two LPs, this Australian band is looking to hit things back off with their album Slow Release, out via Homeless Records come September 29, 2014.

Yes I’m Leaving’s aptly entitled follow-up to their 2013 reissue record, Mission Bulb, is a cement mixer of grunge, grit, and nihilism set to a four count, and I just spent most of my day trudging around to it blaring from my earphones. To start, it was slow going (absolutely zero pun intended) listening and re-listening to this album through from beginning to end, and it wasn’t until I found myself in the midst of the wracking dissonance so characteristic of tunes like “Alchemy” and “Secret” that I finally succumbed to nodding my head to the band’s volatile rhythm section while taking to scowling at everyone who looked at me longer than a few seconds.

Listeners can expect to hit the ground running with “One” as it erupts in a surge of fat bass chops and a couple of old school, pseudo-crust, vocal wails (contradictory proclamations, really) belonging to front man Billy Burke; this introduction stands to give the impression that whatever is coming next is likely going to be a bumpy ride, and I would be lying in claiming that the following tracks, “Puncher” and “Fear,” are anything short of turbulent.

Another checkpoint and notable mention at number five in the lineup is “Timer,” a jam that stands out on the album at certain parts that—dare I say it—would fall somewhere in the same genus as a Nirvana if they were a bit more thrash and had originated somewhere in the Tropic of Capricorn.

Then there is the blast of static that is “Mania,” at number eight, which melds nicely with the album’s gradual, seemingly out of control spiral downward until it burns itself out three tracks later with “Husk”—and in this humble reviewer’s opinion, in the most forthcoming instance of YIL’s splash of controlled chaos on the record.

Slow Release comes off as delightfully anxious, but leans heavily on a tone that can, at the best of times, be described as incredibly consistent. Overriding what some might call a tight performance geared toward those clamoring to be awash in an aggressive squall of noise is the group’s propensity for making songs by sticking to a “play-the-measure/repeat-the measure” formula. While this can be chalked up to Yes I’m Leaving’s self-stylization as a droning force of off-kilter and provocative guitar riffs, looking at Slow Release from a technically critical standpoint leaves something to be desired.

3/5