We Speak Music
Stefski & Hutch Aren’t ‘Selling Lies’ In Debut Album
Buckle up, rockers! The world might have taken a few hits, but Stefski & Hutch are here to remind us that the power of rock music can never be extinguished. Their debut album, ‘Selling Lies’, dropped on April 26th, and it’s about to blow your speakers and your mind!
Picture this: a musical rollercoaster of riffs, grooves, and melodies, all wrapped up in a deliciously alternative cocktail of genres. From funk to metal, soul to psychedelia, and everything in between, “Selling Lies” is a sonic journey through the landscape of contemporary rock music. Critics are already struggling to put Stefski & Hutch in a box, comparing them to the likes of QOTSA, The Black Keys, and Alter Bridge. But trust us, they’re in a league of their own.
Lead singer Stefski commands the stage with his powerhouse vocals, while Hutch’s masterful guitar work adds layers of depth and intensity to every track. And let’s not forget about Maciej Duszak, the solid drummer who keeps the rhythm tight and the energy high.
But what sets Stefski & Hutch apart is their fearless approach to songwriting. ‘Selling Lies’ is a manifesto for our times, tackling themes of truth, freedom, and the human experience with unapologetic honesty. Tracks like “Not in my Name”, “Freedom of Speech”, and “Spine of Men” hit hard with their poignant lyrics and infectious hooks.
And just when you think you’ve got them figured out, they hit you with a curveball. “It’s Forever”, the second single from the album, is a twisted grungy waltz that defies expectations and demands repeat listens.
So what are you waiting for? Dive into the madness and experience the raw power of Stefski & Hutch for yourself. Just push play and let the rock apocalypse begin!
In “You Never Do Shit,” Brooklyn’s Dead Tooth deliver a snarling, urgent post-punk single that distills their barbed energy into under four minutes of sharp-tongued wit and scuffed-up sonics. It’s a track that bristles with disdain—Zach Ellis’ vocal delivery is acidic, at times theatrical, and often more spoken than sung. There’s a punk rock immediacy here, but with the knowing wink of someone who’s watched the scene curdle and still wants to dance through the ashes.
The song began its life in a different medium—written for a fictional band on City on Fire—but the real-life iteration carries more weight. There’s a palpable satisfaction in Ellis’ decision to reclaim it, and that freedom seeps into every detail: the unkempt rhythm section, the jarring saxophone lines from John Stanesco, and the deliberate looseness that characterizes its structure.
Dead Tooth are at once participants and commentators in the culture they inhabit. Their songs are alive with noise, but also with intent—tracking the psychic hangover of nightlife, subcultural collapse, and underground scenes that burn bright and disappear too soon. Ellis’ lyrical observations land like tossed-off critiques, but underneath the smirk is something deeper, almost desperate: a desire for connection, even through chaos.
With their debut album looming, “You Never Do Shit” feels like a thesis statement. Not just of sound, but of ethos: reject slickness, embrace noise, tell the truth—even if it’s ugly. In a year when punk has mostly whispered or wandered, Dead Tooth has chosen to scream.
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