By Brian Shovelton

A punchy live band loses its spark in a muddled, underpowered studio outing.

Providence, Rhode Island punk rockers Sourpunch have released their third recorded effort, Shake Them Bones. The six-song EP follows 2022’s Meet Me at the Bar and their 2012 self-titled debut, Sourpunch.

As a live act, Sourpunch churns like a musical buzzsaw, delivering high-energy rock and roll with precision and force. Lead singer and rhythm guitarist Jenn Lombari channels the raw edge of a young Joan Jett, while lead guitarist Bob Kadlec (of McGunks) supplies soaring leads that capture punk’s spirit without slipping into imitation. The rhythm section—bassist Mike Jauquet and drummer Doug Metivier—functions as a relentless engine, driving the quartet forward. Their live shows are fun, high-energy offerings that are hard to beat.

That kick-ass vibrancy has been recognized. The band has twice won Best Punk Band at the Motif Providence Music Awards, along with Best Garage Band honors, and has received multiple New England Music Award nominations. They have shared stages with acts such as The Queers and Deer Tick, holding their own in strong company. Their debut disc felt refreshingly minimalist, while their sophomore effort—arriving a decade later—reaffirmed their appeal. Neither record aimed for technical perfection; both succeeded by capturing an unvarnished rock-and-roll spirit that has become increasingly rare. Unfortunately, that spirit is largely absent from the new release.

This six-song offering lacks both the bite of the debut and the tongue-in-cheek cleverness of its predecessor. From performance to production, the record struggles to find momentum. At times, an over-reliance on 1950s rock influences leads to repetitive, rehashed riffs that differ little beyond key changes.

Of the six tracks, three have been staples of the band’s live set for the past two years, two are new, and one is a cover. The opening track, “Lipstick and Black,” runs longer-at just over three minutes-than the band’s typical fare. It begins with a familiar buzzsaw guitar but soon slides into a muddled sonic mix. Lombari’s trademark grit and vocal bite are subdued, replaced by a lower register that feels ill-suited to her strengths. The backing vocals further undercut the track: typically handled live by Kadlec and Jauquet, they are performed entirely by Lombari here, resulting in an awkward, flattened sound.

“Rebound n Down” continues this muddled trend, its vocals similarly restrained and fatigued sounding. The intent of the shift is to make Lombari’s vocals less rough than usual—but the change undercuts the band’s core identity. This is an attempt at creative growth, but it comes off as an unsatisfying diversion.

Sourpunch in the studio. Photo: courtesy of the artist

The middle section—“Sourpunch Stomp,” “Gin Buzz,” and “Dead Friends”—does not recover from the earlier misstep. “Sourpunch Stomp,” a live favorite, isn’t exciting in the studio:it comes across as underdeveloped and lyrically thin. “Gin Buzz,” just over three minutes long, leans heavily into derivative 1950s structures — distortion alone can’t compensate for a lack of originality. The strongest tune of the three, “Dead Friends,” is also the shortest. It is intended to be a tribute to those who have died along the way; it carries real emotional weight, but the studio version pales in comparison to the more dynamic and affecting live performance.

The EP closes with a cover of Canned Heat’s “Going Up the Country.” Punk reinterpretations of classic songs can be effective—Sid Vicious’s “My Way” or The Ataris’ “Boys of Summer” are notable examples. What’s more, Sourpunch has succeeded with this approach before, particularly on their debut. Here, however, the cover neither honors the original nor meaningfully transforms it. This is an afterthought rather than a compelling finale.

A significant issue throughout the EP is its production. The recording sounds compressed and poorly balanced, with guitars and drums blending into an indistinct mass—at times, the bass is nearly inaudible. The vocals are surprisingly weak, and they are further undermined by the mix.

Given the band’s excellent track record, this release is a notable disappointment. The earlier albums remain worthwhile, and the live show continues to be a galvanic experience. Let’s hope that Shake Them Bones is a momentary rattle in Sourpunch’s engine.

Brian Shovelton is an award-winning singer / songwriter and author currently working on his eighth book. He resides in Manchester, CT with his fiancé.