Gotta get out, but I'm definitely staying for this one.

The Linda Lindas have grown up in front of the punk world, and GOTTA GET OUT feels like the point where that growth really becomes impossible to ignore. The Los Angeles quartet of sisters Lucia and Mila de la Garza, cousin Eloise Wong, and friend Bela Salazar first became widely known after their 2021 performance of “Racist, Sexist Boy” went viral, but this album makes it clear they are much more than that moment. Their punk foundation is still here, but they're now mixing in new wave, garage rock, grunge, power-pop, hardcore, and softer alternative sounds without losing the personality that made them interesting in the first place.

“Gotta Get Out” immediately shows that progression with washed-out synths, fuzzy guitars, rolling drums, and a thick, plucky bass line that gives the song an almost 80s feel. The vocals sound noticeably more mature and confident than the band's earlier material, while the simple structure keeps everything catchy and direct. “Burning Out” slows things down with softer drums, low bass, and hazy guitar textures that lean into alternative and grunge territory. The vocals are more relaxed, but the chorus is another simple hook that sticks immediately. The use of reverb and distortion gives the song more atmosphere without making it feel overproduced.

“Helado de Limón” brings the punk energy back while introducing Spanish-language vocals, adding another dimension to the band's identity. The bright guitars, energetic drums, backing vocals, and simple punk structure make it an easy standout, while a guitar solo toward the end adds another nice touch. It feels familiar without sounding like a generic pop-punk song. Then “Blood On Our Hands” comes out of nowhere with slower chunky riffs, dense drums, harsher vocals, and a much more pissed-off attitude. The lyrics address government failure and frustration with the way people are being treated, while the music pushes further into hardcore territory. It isn't the most brutal hardcore song ever recorded, but hearing The Linda Lindas go this hard is a great surprise.

“Closer,” featuring Hayley Williams, could have easily been a gimmicky collaboration, but thankfully it doesn't feel that way. Williams fits naturally into the song, and The Linda Lindas sound completely comfortable alongside her. The band remain at the center of the track, with the drums, bass, and guitars building around the vocals without making the feature feel like the entire selling point. “Nothing Left” then brings back the washed-out guitars and deep bass while tackling environmental destruction and technology's impact on the planet. The vocals are especially clear here, which works well because the lyrics are carrying a bigger message.

“High Horse” gets stranger with eerie synths, piano or organ textures, unusual percussion, and distorted vocals during the verses. The cleaner chorus creates a good contrast, while the backing vocals add another layer, although I wish they had a little more urgency. “Break” completely changes the energy again, beginning with slow, deep drums and bass before exploding into fast punk and hardcore. The vocals become much more aggressive, and suddenly the album feels like you've walked into a hardcore show. That willingness to jump between styles without completely losing their identity is one of the album's biggest strengths.

“I Could Be Wrong” moves into more spacious territory with spacey guitars, tight riffs, simple drums, and big vocals. There is a nice mixture of happiness and sadness running through the song, giving it a bittersweet quality. “Everybody Told Me” takes that emotional side even further with 80s-inspired synths, softer guitar textures, restrained drums, and low fuzzy bass. The vocals are controlled and mature, and the song gradually grows instead of relying on one massive moment. It is one of the clearest examples of how much the band's songwriting has developed.

“Okay” brings the punk energy back with thick bass, raspy vocals, and another great example of the band rotating vocal duties. That shared approach makes The Linda Lindas feel like a real group rather than one singer surrounded by musicians. The lyrics about change and moving forward give the song an optimistic feeling without becoming overly sentimental. Finally, “See You Next Time” slows everything down with acoustic and electric guitars, deep bass, soft drums, and subtle synths. After such a varied album, ending quietly feels like the right choice.

What makes GOTTA GET OUT work is the way The Linda Lindas expand their sound without abandoning what made them fun in the first place. The guitars can be fuzzy, bright, heavy, or atmospheric, while the rhythm section shifts comfortably between simple punk beats and heavier attacks. The rotating vocals give every member a chance to contribute, and the songwriting has become much more confident without losing its immediacy.

There are a few moments where the backing vocals could hit harder, and some of the softer songs don't have quite the same immediate impact as the punk material. But those are small complaints on an album that constantly gives you something different to latch onto.

The Linda Lindas aren't trying to recreate the band they were when “Racist, Sexist Boy” blew up. They're taking everything they've learned since then and pushing it in different directions. GOTTA GET OUT is catchy, adventurous, mature, and still has plenty of punk attitude. Most importantly, it sounds like four musicians having fun while figuring out just how far they can take their sound.