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Garage rock, sometimes called garage punk or ’60s punk, is a raw and energetic style of rock music that emerged in the mid-1960s, primarily in the U.S. and Canada, and has since seen multiple revivals. Characterized by basic chord structures, fuzz-drenched guitars, and often aggressive, unpolished vocals, its name stems from the idea that young, amateur bands practiced in garages, though many were professional. Inspired by surf rock and the British Invasion, countless grassroots bands formed between 1963 and 1968, producing regional hits that occasionally broke nationally.
As psychedelia and more sophisticated rock styles gained prominence post-1968, garage rock faded from mainstream charts. Initially unnamed, it was later retroactively defined in the early 1970s, with critics referring to it as “punk rock” before that term was associated with the later punk movement. The 1972 compilation *Nuggets* played a crucial role in cementing its legacy, and by the 1980s, “garage rock” became the preferred term. The genre saw revivals in the 1980s and later in the 2000s, where it fused with punk and other influences, contributing to the post-punk revival. Garage rock remains influential, embraced by musicians and fans drawn to its raw, DIY ethos.
The Yeah Yeah Yeah’s Karen O’s (Ozolek) vocal and stage antics made her impossible to ignore. Prone to dumping beer all over herself while performing, Karen O’s style owed at least something to Wendy O. Williams and Iggy Pop. Guitarist Nick Zinner and drummer Brian Chase delivered a raw Garage Rock din. In ’02, Yeah…
Like countless musicians, Caleb, Nathan and Jared Followill earned their musical chops playing in church. Only when their father left the ministry did the Followill’s, along with their cousin Matthew, discover Led Zeppelin, Tom Petty and Rolling Stones. Interestingly, those influences did not dominate. Rather, the Followill’s honed a roots/rustic style that was, in part,…
Jack White’s No Name is a raw, electrifying return to garage rock and blues punk. Released unexpectedly in 2024, it strips away recent experimentation, delivering ferocious riffs and tight rhythms, earning praise as one of his best solo efforts.
A loud, loose, jukebox-lit joyride built for Friday nights and backroad drives. Packed with swagger, sweat, and surprise guests, it ditches big statements for pure vibe. No reinvention—just rubber-burning rock that knows how to have fun.
Jack White – Fear of the Dawn Fear of the Dawn is Jack White getting weird in his own basement and deciding to crank it up for the neighborhood to hear. It’s chaotic, sharp-edged, electrified to the point of combustion. This isn’t the elegant, folky troubadour of Blunderbuss or Lazaretto. This is the mad scientist…
Low Cut Connie – Private Lives Private Lives is a vibrant double album that captures the raw, unfiltered energy of Low Cut Connie’s signature sound while diving deep into themes of connection, identity, and resilience. Released in 2020, the record blends gritty rock ‘n’ roll, soulful melodies, and heartfelt storytelling, delivering a collection that feels…
If the songs sometimes feel like they’ve been beamed in from different decades, that’s by design. There’s no genre purity here—power pop gets into a bar fight with garage psych, soul shows up in a three-piece suit, and blues limps in with broken teeth.
Frayed, anxious, and razor-smart, this album trades post-punk detachment for raw introspection. It jitters, spirals, and simmers—less rebellion, more survival. Messy, honest, and wired like insomnia at 3AM with a notebook full of unfinished thoughts.
Royal Blood slams out ten tracks of bass-fueled chaos with nothing wasted. No frills, no filler—just two guys making a beautiful mess that somehow feels bigger than most five-piece bands. It’s raw, explosive rock that demands volume and gives zero excuses.
The characters in these songs aren’t heroes—they’re hustlers, loners, ex-lovers, and con men trapped in some 21st-century Southern Gothic fever dream. He sounds like he’s arguing with them all, and himself. Lazaretto is messy in the way art is supposed to be.