The Offspring The Offspring

Woo hoo! There’s a new Offspring album And it’s better than I expected The three singles released before it varied in style – with only one of them, “Light It Up“, being traditional 1990s-style punk music – and this made me mildly nervous.

Woo hoo! There’s a new Offspring album And it’s better than I expected The three singles released before it varied in style – with only one of them, “Light It Up“, being traditional 1990s-style punk music – and this made me mildly nervous.

Woo hoo! There’s a new Offspring album 🙂 And it’s better than I expected 🙂 The three singles released before it varied in style – with only one of them, “Light It Up“, being traditional 1990s-style punk music – and this made me mildly nervous.

The Offspring is an American punk rock band from Garden Grove, California, formed in 1984.[2] Originally formed under the name Manic Subsidal, the band's current lineup consists of lead vocalist and guitarist Bryan "Dexter" Holland, bassist Todd Morse, guitarist Kevin "Noodles" Wasserman and drummer Pete Parada…

The Offspring's second album for Epitaph did the impossible: it landed in the Top Five, unheard of for independent records. The Offspring crossed over due to the raucous, Eastern-tinged single "Come Out and Play," which stopped and started just like Nirvana, only without the Seattle trio's recklessness. The record stayed in the charts because the Offspring sounded relentlessly heavy, no matter how much the band claimed to be punk. Their tempos are slower than traditional hardcore, and their attack is as heavy as Metallica. But they acted like they were punk, with odes to no "Self Esteem" and singing about fighting in school. Nothing on the album matches the incessant catchiness of the singles, but Smash is a solid record, filled with enough heavy riffs to keep most teenagers happy.

It's more mixing of stylized punk revival and hybridism with left-field musical experimentation and in-the-now pop culture lyrical references on Splinter, the Offspring's seventh full-length. "Never Gonna Find Me," "Long Way Home," and "Lightning Rod" each bristle with overdriven guitars and Dexter Holland's high-pitched bleating; they're somewhat workmanlike, but still roil with that precision fury particular to a veteran band. At the same time, Holland, guitarist Noodles, and bassist Greg Kriesel can't resist returning to the towel-slapping trash humor and mean-spirited loathing that typified past tracks like "Pretty Fly (For a White Guy)" and "Self Esteem." Lead single "Hit That" talks up baby daddies over a bopping bassline and keyboard right out of a Bloodhound Gang track, while "Spare Me the Details" subverts its lighthearted acoustic strum with foul-mouthed (on the clean version, anyway) attacks on a philandering girlfriend ("I'm not the one who acted like a ho"). "Da Hui" overdrives surf rock while paying homage to hardcore Hawaiian board riders, and "When You're in Prison" ends Splinter with sage advice about protecting your dignity in the clink.

It's more mixing of stylized punk revival and hybridism with left-field musical experimentation and in-the-now pop culture lyrical references on Splinter, the Offspring's seventh full-length. "Never Gonna Find Me," "Long Way Home," and "Lightning Rod" each bristle with overdriven guitars and Dexter Holland's high-pitched bleating; they're somewhat workmanlike, but still roil with that precision fury particular to a veteran band. At the same time, Holland, guitarist Noodles, and bassist Greg Kriesel can't resist returning to the towel-slapping trash humor and mean-spirited loathing that typified past tracks like "Pretty Fly (For a White Guy)" and "Self Esteem." Lead single "Hit That" talks up baby daddies over a bopping bassline and keyboard right out of a Bloodhound Gang track, while "Spare Me the Details" subverts its lighthearted acoustic strum with foul-mouthed (on the clean version, anyway) attacks on a philandering girlfriend ("I'm not the one who acted like a ho"). "Da Hui" overdrives surf rock while paying homage to hardcore Hawaiian board riders, and "When You're in Prison" ends Splinter with sage advice about protecting your dignity in the clink.

It's more mixing of stylized punk revival and hybridism with left-field musical experimentation and in-the-now pop culture lyrical references on Splinter, the Offspring's seventh full-length. "Never Gonna Find Me," "Long Way Home," and "Lightning Rod" each bristle with overdriven guitars and Dexter Holland's high-pitched bleating; they're somewhat workmanlike, but still roil with that precision fury particular to a veteran band. At the same time, Holland, guitarist Noodles, and bassist Greg Kriesel can't resist returning to the towel-slapping trash humor and mean-spirited loathing that typified past tracks like "Pretty Fly (For a White Guy)" and "Self Esteem." Lead single "Hit That" talks up baby daddies over a bopping bassline and keyboard right out of a Bloodhound Gang track, while "Spare Me the Details" subverts its lighthearted acoustic strum with foul-mouthed (on the clean version, anyway) attacks on a philandering girlfriend ("I'm not the one who acted like a ho"). "Da Hui" overdrives surf rock while paying homage to hardcore Hawaiian board riders, and "When You're in Prison" ends Splinter with sage advice about protecting your dignity in the clink.

The legendary So-Cal punk group The Offspring are back with their 10th album and first new offering since 2008. After releasing two standalone tracks in 2020 - the over-the-top cover of Joe Exotic's (of Tiger King infamy) "Hey Kitty Kitty" and a rendition of Darlene Love's classic "Christmas (Baby Please Come Home)" - the band is ready to plant their punk rock flag in the sand once again with their blistering new album Let the Bad Times Roll.