Alpha Sub - Self-Titled Review

Return to Music Reviews 2025

Alpha Sub’s self-titled debut album is a wild, tongue-in-cheek ride through punk and emo-inspired territory, full of humor, catchy hooks, and dense riffs that are a bit clunky but undeniably fun. With a distinct punk vibe and a touch of sarcasm, the album combines personal observations, irreverent humor, and social commentary, making it both relatable and entertaining.

The album opens with the track “Alpha Sub,” which sets the tone with its clear, loud vocals and dense, clunky riffs. There's a playful yet self-aware energy in the lyrics, poking fun at the idea of trying to be a stereotypical "alpha male." The vocals are particularly engaging, with a tone that borders on humorous, almost as if the band is making fun of the tough-guy persona they’re depicting. The drums and bass are solid throughout the album, giving the music a strong foundation even when the song structures lean more simple or low-budget.

Tracks like “Two Handed Piss” continue the upbeat tempo, driving the album forward with more energetic rhythms and playful lyrics about the challenges of embodying a tough persona. The production may feel a little raw or DIY, but that low-fi aesthetic only adds to the charm of the band. The guitar solo towards the end of the song is a highlight, adding a bit of flare and showcasing the band’s ability to throw in well-placed surprises within their punk framework.

As the album progresses, the themes continue to play with absurdity and humor, as seen in “Stepdad Goatee,” which is less energetic but no less funny. The track revolves around the awkward, often-laughable figure of a "lame stepdad," with lyrics that dive into classic toilet humor in the best way. The chorus here is catchy, and though the song doesn’t feel like it’s pushing for anything groundbreaking musically, the band’s lighthearted approach and laid-back vibe give it a sense of authenticity and fun.

“Nobody” shifts the mood slightly with groovy, scaled-down riffs and a more dynamic drum performance. While the song lacks the same sense of urgency, the bass stands out, giving the track a deeper presence, especially during the chorus. Lyrically, it’s neither deeply philosophical nor overly simplistic; it strikes a balance between personal reflection and punk rebelliousness.

The politically charged “Fuck the Police” dives headfirst into the realities of police brutality, but the song’s sound doesn’t quite match the intensity of its subject matter. The riffs feel a little out of tune, and the drums fall flat, leaving the song’s anger and frustration somewhat muted. However, the juxtaposition of the cheerful delivery against the darker lyrics creates a haunting contrast that adds an interesting layer to the track.

“Proud Boy Buffet” brings the band back into more cohesive punk territory with tighter drums and more polished riffs. The anthem-like chorus, which boldly calls for action against fascism, delivers a punk message with energy and conviction. It’s an instant crowd-pleaser, with a punk ethos that encourages standing up against hate.

Following this track, “Peaked in High School” takes a more cynical turn, with savage lyrics about a girl stuck in the patterns of high school, unable to escape her past mistakes. It’s a bit cringey at times but also very punk—an unflinching jab at societal stereotypes. While the song itself might not be as catchy, the sharp, almost biting lyrics elevate it, making it memorable despite its awkwardness.

The track “Downhill Battle” features more experimental riffs, but these can sound clunky, at times straying too far from the tight, punk sound the album had built up to that point. While the drums are dynamic, they occasionally feel off in terms of timing, and the riffs don’t always mesh. Still, the vocals manage to match the erratic energy, holding the track together even if it’s not the most polished moment on the album.

“Soapbox” carries the theme of social unrest with straightforward punk lyrics that focus on pushing back against a broken society. The riffs here are simple and safe, which works well within the context of the song, though the overall energy feels a little subdued. The bass, however, shines on this track, bringing a deep, resonant tone that adds richness to the sound.

“Agenda” offers something different with tight punk drums and a bit of a glam or hair-metal flair in the riffs. The southern groove comes through in the guitar work, giving the track a fun, slightly retro vibe. As one of the longer tracks on the album, it allows the band to explore a different side of their sound while still staying true to their punk roots.

The album closes with “No Friends,” which starts off slow and indie-like before evolving into an upbeat, surf-punk style. The varied vocal delivery on this track brings a refreshing change of pace, offering a new dimension to the album's otherwise consistent energy. While the song’s structure remains simple, the bass again stands out, showing the band’s ability to create depth even within a straightforward song.

Overall, Alpha Sub’s self-titled album blends humor, punk aggression, and social commentary into an entertaining and quirky package. While the production might be rough around the edges, it only enhances the raw, DIY feel of the band’s sound. The album doesn’t take itself too seriously, which is part of its charm—whether it’s poking fun at the “alpha male” persona, delivering political rants, or just cracking jokes about awkward stepdads, Alpha Sub’s debut is a fun and unpredictable listen. There’s room for growth and experimentation, but this debut shows that the band has a unique voice and a lot of potential.