The Men have been creating riotous proto punk for over eighteen years now. Across their discography, they’ve shape-shifted from post-punk aggression to sun-soaked Americana, from scorched-earth garage rock to cosmic psychedelia, and yet they’ve always retained that distinct raw energy that makes them unmistakably The Men. Their latest album, Buyer Beware, is yet another unpredictable turn—a raucous, urgent, and deeply immersive record that feels both timely and timeless. It channels the energy and raw power of The Stooges and MC5 morphing into the hard hitting, scuzzy rock ‘n’ roll you would expect from a band with this depth of experience.
Their PR gives us this insight.
“The Men’s sound and vision has never been more primal or apocalyptic. A clarion call for troubled times signalled by its title, Buyer Beware finds The Men tackling questions both personal and political, imploring themselves and listeners to take a long hard look in the mirror and at their surroundings.”
Recorded directly to tape with longtime collaborator Travis Harrison, Buyer Beware embraces the crackling spontaneity of their live sound. That all said, let’s dive into each track and break it all down.
The album kicks off with ‘Pony,’ an absolute stormer of a track that wastes no time throwing us into the deep end. With its jagged guitars and barked-out vocals, it’s a high-octane opener that recalls their early no-wave tendencies. Lyrically, it’s a restless plea for forward motion, a challenge directed both outward and inward. Man! It’s only the opening track and I’m already sweating.
Up next is ‘At the Cinema’, a swirling, cinematic fever dream of a track that perfectly captures their knack for blending raw energy with atmospheric textures. It kicks off with a hypnotic, motorik groove that steadily builds, layered with seismic guitars. There’s an undeniable sense of motion—like a chase down a neon-lit city street, where nostalgia and anticipation blur into one. I love the cinema reel ending too, nice touch!
The title track is pure menace. A looming bassline snakes its way through layers of distorted guitar, while the vocals sound like they’re being transmitted through a busted radio in the middle of nowhere. There’s a sense of impending doom here, a warning siren disguised as a rock song. It’s hypnotic, unsettling, and utterly compelling.
A moody shift from the preceding tracks ‘Fire Sermon’ leans into the sheer power at this band’s disposal. It’s heads down and amps to eleven as they bludgeon us with fuzzed-out leads and choppy riffs. The band doesn’t let up for the full minute and a half of its run time. Wayne Kramer would have loved this one.
That short sharp shock comes back into effect on ‘PO Box 96’. It’s a short, sharp shock of punky garage rock. It’s fast, furious, and completely unfiltered—no time for build up, no room for restraint. The Men tear through this track with reckless abandon, driven by pounding drums, jagged guitars, and sneering, almost breathless vocals. It’s the kind of song that feels like a basement gig in full swing, bodies colliding, beer spilling, and the walls sweating. Pure energy—a thrilling jolt of rock & roll adrenaline.
‘Charm’ is another full-throttle rocker, drenched in fuzz and attitude. With its relentless drumbeat and dual male / female vocal delivery, it feels like a lost gem from a forgotten CBGB’s set. The song barrels forward without a care, its raw, unpolished energy embodying The Men’s unrelenting spirit. It’s a perfect encapsulation of their punk-meets-garage ethos.
We back off the gas ever so slightly for ‘Black Heart Blue’ a crushing slow-burner that gradually builds into a full-on storm. It’s a bluesy, desperate howl into the void, channelling both the melancholy of Neil Young and the tension of early Sonic Youth. The band flexes their ability to balance restraint with release, making the eventual eruption into the closing guitar solo all the more cathartic.
‘Nothing Wrong’ lulls the listener in with a slow, spoken-word intro before detonating into a frantic burst of garage rock fury. It’s got that signature rawness The Men do so well—fuzzed-out guitars, relentless drumming, and a vocal delivery that sits somewhere between a sneer and a snarl. The track burns fast and bright, propelled by a sense of barely-contained chaos, before collapsing in a burst of distortion. A reminder that sometimes, simplicity and brute force are all you need to make a track hit hard.
A relentless, driving track with a post-punk undercurrent, “Control” is a brash yet hypnotic song that pulses with nervous energy. The wiry guitars twist and turn unpredictably, while the vocals push and pull between urgency and detachment. It’s a masterclass in controlled chaos.
There’s a sense of disorientation in “Dry Cycle,”. It’s like a little pause to catch our breath. Nice use of a tumble dryer as percussion instrument!
Slowing things back down, ‘The Path’ leans into the band’s more atmospheric side. It’s got a creeping, psychedelic feel to it, driven by shimmering guitar lines and restrained vocals. The lyrics are oblique but evocative, hinting at existential dread lurking beneath the surface. It’s a real change in texture for The Men and it really suits them.
We barrel headlong into ‘Tombstone’ next. This is good old-fashioned rock ‘n’ roll. Vocals play off the searing guitar riffs very nicely. Musically we’re off on a different route, dialling up the rock & roll swagger and Southern-tinged grit. It’s got a rolling groove, packed with fiery guitar licks, a driving beat, and vocals that straddle the line between sneering and soulful. The Men tap into a looser, almost barroom jam energy here, making “Tombstone” a standout moment that proves they can channel their raw power into something more melodic without losing an ounce of intensity.
Closing things out is ‘Get My Soul’ a melancholic yet strangely triumphant outro. It’s got the ragged, nostalgic feel of a last-call anthem, the kind of song that plays as the credits roll on a long, strange night.
In a world where so much music feels disposable, Buyer Beware stands as a bold statement from a band that’s unafraid to take risks. It’s a reminder that rock music can still be a powerful force for expression and connection. So, when The Men ask, “When you gonna stop running?” on “Pony,” it’s not just a challenge to themselves, but to all of us. Are we ready to face the music? Buyer Beware is more than just an album; it’s an experience—a call to arms for anyone willing to listen. Don’t let this one pass you by.
Buyer Beware is out via Fuzz Club Records on February 28th 2025. You can grab a copy on vinyl from Fuzz Club or The Men Bandcamp page.
You can follow The Men on social media here…
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