A Transatlantic collab of unexpected origin lets loose on their self-titled debut!
If you’re in search of the perfect album to listen to when feeling reflective but in a hurry, then look no further! Pressure Set began in 2024, when Colorado-based SPELLS drummer Rob Burleson met guitarist Dom Brining, of Yorkshire melodic punk band Bear Away. Instantly bonding over matching Rocket from the Crypt tattoos, it wasn’t long before the wheels were in motion. After a few demos, the tracks ended up in the hands of Daryl Wilson (the Bollweevils), in Chicago. Shortly after, Simon Lamb (Methadones, Sludgeworth, Violets) – also, mercifully, in Chicago – was recruited on bass. Spurred by a sense of newfound friendship, the ideas kept coming, leading them to ask whether now was the time to start calling this side project a “band”.
The chemistry was obvious, though recording locations were another thing entirely. By Wilson’s own admission, recording from home “shouldn’t have worked as well as it did” – referring to some of their most basic of set-ups: plush home studios, they were not.
All four punk lifers joined the genre from different angles, from the late 80s onwards. Though, together, their blended sound is melodic underground punk – rather than the raw, sniping standard so often seen elsewhere. That’s not to say they don’t have bite. With darker elements and unexpected twists, Burleson self-describes it as “short, sharp blasts of high-energy punk rock”. Few of the debut’s ten tracks are longer than two and a half minutes in length; latest single ‘Mutant Death Guide‘ clocks in at just 48 seconds long! Rather than following their usual channels of rage, the group have chosen to tackle themes of communication breakdowns, social disconnect and authenticity.
First single, the boisterous ‘Blood Gimmick’ is all frustration at the lack of authenticity and meaning in the modern world, asking the poignant question: “Why create when everyone is dying?” ‘Binge Watch on Mute’ carries more social commentary, this time on not communicating or taking action to rectify meaningful relationships, to a point where the damage is irreversible. Despite reflective lyrics, it’s a punk-rocking tune with hardcore drums and tinny megaphone vocals. Its music video flits between manic, grainy band footage and 60s-style sci-fi motifs. In places, you can hear elements of Dead Kennedys and Gang of Four in there too.
First single, the boisterous ‘Blood Gimmick’ is all frustration at the lack of authenticity and meaning in the modern world, asking the poignant question: “Why create when everyone is dying?” ‘Binge Watch on Mute’ carries more social commentary, this time on not communicating or taking action to rectify meaningful relationships, to a point where the damage is irreversible. Despite reflective lyrics, it’s a punk-rocking tune with hardcore drums and tinny megaphone vocals. Its music video flits between manic, grainy band footage and 60s-style sci-fi motifs. In places, you can hear elements of Dead Kennedys and Gang of Four in there too.
Highlights include the fast-paced ‘Panic Show’ (also apparently a band favourite) that evokes the whole project’s team spirit. The group seem relaxed and at their most inventive here – refreshingly changing direction into a jagged guitar and choppy vocal adlib ending.
The slightly dejected ‘Night Move Part II’ signals Wilson’s tender vocals still displaying a clear frustration and attitude. Although, at their base tone, they struggle to be clearly heard beyond an ominous riff wall – that is, until the midsection’s climatic half-shouts. There are hints of Green Day-esque pop-punk, with the melody and Burleson’s relentless drums driving it forward. In contrast, the fiery ‘Pleasure Doom’ is an edgier standout, with vocals finding their footing much more effectively, delivering more megaphone-style effects among sturdy riffs. Anger is conveyed through a powerful, whining vocal that could even recall Patrick Stump and the heavy-rock side of Skindred’s Benji Webb.
Evil Engine’s Kryssie Ridolfi duets on the impending ‘Assistant to the God of Thunder’ – offering a harmonious lilt and open vulnerability. The haunting line: “We’re all customers / I’m not buying it / When the last thing sold is your soul” precedes a repetitive but meaningful main hook of “It’s not the way it’s supposed to be”, backed with elongated chants of “We’re not the holy ones”. In a similar vein, Wilson’s daughter Genevieve joins in on closer ‘Dream Factory’.
Pressure Set have proved their penchant for punchy power punk, adding occasional bursts of sharpish hardcore, with tempo and style fluxes that follow all the twists and turns you might expect from an old-school Bad Brains record. Between snarling guitar and barely contained tension, there are sunnier moments too (see the unifying ‘Solid Ground’ for further evidence). After all, Pressure Set work best in this friends-and-family set-up, hoping to expand their unit to involve new collabs later down the line. Allowing them to stay true to themselves, and for the music to keep doing the talking.
‘Pressure Set’ is out via Dr. Strange Records on 2nd October. Preorder the vinyl LP HERE and get your Digital Download HERE
Catch Pressure Set live on:
- 24th October 2026 – FEST at The Backyard, Gainesville, FL
- 15th January 2027 – Dr. Strange’s Winter Bash at Haven City Market, Rancho Cucamonga, CA
Main Photo Credit: PRESSURE SET
- Binge Watch on Mute
- Shit Vibrations
- Mutant Death Guide
- Blood Gimmick
- Assistant to the God of Thunder
- Solid Ground
- Panic Show
- Night Moves Part II
- Pleasure Doom
- Dream Factory
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Writer and wannabe guitar whizz – with a playlist for just about every genre and occasion. Fuelled by an eclectic, life-long love of music through the ages, though my heart will always belong to seventies punk and gothic rock. You can usually find me at a gig or some kind of DIY music exhibition. At my happiest finding new music (and rediscovering old gems) to write about, and a firm believer that everyone should have at least one upcoming gig to look forward to.
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