ASTORIA, Ore. — Oregon punk band The Something Ain’t Rights has released its debut EP, Rotten In The Brain, introducing a nine-track collection that draws on decades of underground music experience while blending punk rock, post-punk, roots rock, garage rock, and country influences. Released on July 22 through Hovercraft Records, the project reflects the band’s long musical journey spanning scenes from New York and Washington, D.C., to Austin, Portland, and the Oregon coast.
The debut release presents a mix of energetic punk rhythms, post-punk experimentation, and Americana-inspired storytelling. Rather than revisiting classic punk styles through nostalgia, the EP combines influences from multiple eras to create a contemporary sound rooted in underground music traditions.
At the center of the project is vocalist and guitarist Mike Vasquez, a longtime recording engineer and former owner of Austin’s Sweatbox Studio. Throughout his career, Vasquez has worked with hundreds of independent artists and collaborated on recordings involving Mark Arm, Paul Leary, Alejandro Escovedo, Tim Kerr, Mooney Suzuki, Toys That Kill, and Lungfish, establishing himself within the punk and garage rock communities.
After relocating to Astoria, Vasquez formed The Something Ain’t Rights alongside drummer Carrie Beveridge, bassist Alpha Rasmussen, and guitarist Dan McClure. The four musicians also perform together as the Astoria punk band Beta Voids, although this project allows the members to expand beyond traditional punk arrangements by exploring a wider variety of musical styles.
Drawing inspiration from influential acts including X, The Minutemen, Pere Ubu, The Gun Club, Wire, Old 97’s, and Rank and File, the band avoids remaining confined to a single genre. Instead, Rotten In The Brain combines angular post-punk rhythms with country twang, hardcore intensity, and roots rock melodies to produce a sound that reflects both the past and present of American independent music.
Several songs showcase the band’s diverse musical approach. Tracks such as “Rotten In The Brain” and “Plymouth of Fury” deliver fast-paced punk performances built around themes of frustration, urgency, and dark humor. Meanwhile, “Gas Station Angel” and “Rainbow Alley” introduce influences inspired by American highways, small-town life, and everyday characters, adding greater depth to the overall record.
The chemistry among the four musicians is shaped by their varied backgrounds. Vasquez’s rhythmic guitar work reflects years spent in Texas punk and post-punk circles, while McClure contributes influences rooted in the West Coast hardcore movement of the early 1980s. Rasmussen’s driving bass lines and Beveridge’s dynamic drumming provide a rhythmic foundation that gives the songs a constant sense of momentum.
The recording process also played a significant role in shaping the final release. Recorded and mixed by Vasquez at Cannon Deck Recording in Astoria during the winter of 2025–26, the project was originally planned as a 29-song full-length album. Those plans changed after Vasquez suffered serious injuries in a highway accident during production.
Following the accident, the band chose to complete and release the first nine finished songs as their debut EP rather than continue work on the larger project. The decision resulted in a more focused collection that captures the energy and immediacy of the recording sessions while preserving the raw character of the band’s performances.
The EP’s artwork further reflects the band’s longstanding connection to punk culture. The cover photograph was taken by Vasquez across the street from CBGB during his first hardcore show in 1983, documenting a formative experience that helped shape his lifelong involvement in underground music.
That connection between the early days of punk and the present remains a defining element of Rotten In The Brain. The songs explore themes of uncertainty, cultural change, resilience, and everyday life while maintaining the independent spirit associated with classic punk music.
With its debut release, The Something Ain’t Rights introduces a record that reflects decades of musical experience while embracing a broad range of influences. Rotten In The Brain positions the Astoria-based quartet as an emerging act capable of blending underground traditions with contemporary songwriting, offering listeners a release that is both rooted in punk history and relevant to today’s alternative rock landscape.
