The Infamists’ “Stab Stab Bang Bang,” released on October 3rd, 2025, arrives as a barbed wire bolt of sound, bursting through speakers with unrelenting ferocity and unapologetic swagger. The Texas-based trio, known for their gritty fusion of Southern rock, garage grit, and heavy blues, deliver a song that feels both unchained and meticulously crafted. Recorded at AudioStyles in Fredericksburg and polished under the expert hands of producer Taylor Tatsch and mastering engineer Todd Pipes, the track captures the band’s signature live-wire intensity while injecting a modern pulse of industrial heat. In just over two minutes, “Stab Stab Bang Bang” delivers the impact of a full record’s worth of adrenaline, fusing the swampy, distorted roots of ZZ Top with the hard-edged attitude of Queens of the Stone Age and the swaggering defiance of Clutch. It is a sonic gut punch that does not merely play, it detonates.
Musically, “Stab Stab Bang Bang” thrives on its tightly coiled structure and unrelenting propulsion. From the first second, the track hooks the listener with a bristling guitar riff that tears through the silence like a revving engine on an open highway. Riley Rogers’ guitar tone is drenched in fuzz, thick with overdrive, and yet clear enough to carve through the mix with precision. The rhythm section, handled by Spencer Wharton on bass and Ryan Weiss on drums, forms a muscular backbone that never falters. Wharton’s bass rumbles low and mean, reinforcing the guitar’s aggression with swampy undertones, while Weiss’ drumming is a masterclass in controlled chaos with tight snare cracks, thunderous toms, and cymbal crashes that slice through the track like sparks from a grinder. The result is an arrangement that feels both primal and deliberate, every note landing with precision even as it threatens to burst into flames.
Vocally, Riley Rogers commands the track with grit and venom, his delivery channeling both rage and theatrical charisma. The lyrics, are expressed vividly through his phrasing and tone, conjuring imagery of violence, defiance, and survival. The repeated phrase “Stab Stab Bang Bang” acts as a rhythmic incantation, part warning and part catharsis, encapsulating the song’s brutal energy in a few unforgettable syllables. Backing vocals from JoAnn Henkel and Gracie Armendariz add a fiery texture, widening the sonic field and giving the chorus a faint echo of Southern gospel intensity filtered through a distortion pedal. Rogers does not simply sing; he attacks each line as if the microphone itself were an adversary. The vocal layering, raw but precisely mixed, ensures that even the chaotic moments feel intentional, giving the song a balance of menace and musical mastery.
The production work by Taylor Tatsch at AudioStyles plays a crucial role in maintaining this perfect balance between raw energy and professional execution. Rather than polishing away the grit, Tatsch amplifies it, allowing the distortion to feel organic and authentic. Each instrument occupies its own space, with the guitar sitting prominently upfront, the bass growling beneath it, and the drums snapping with cinematic clarity. Todd Pipes’ mastering tightens the mix even further, lending it a punch that translates flawlessly across all formats, from headphones to live amplifiers. The additional recording sessions at Blackstone Recording Studio in Fort Worth enrich the sound with a subtle live-room resonance, giving the track the immediacy of a one-take performance captured in the heat of creation. This meticulous production approach gives “Stab Stab Bang Bang” its distinct character, sounding wild but crafted with expert precision.
Lyrically and thematically, “Stab Stab Bang Bang” embodies The Infamists’ fascination with confrontation, both internal and external. The title suggests violence, but beneath the surface lies a metaphor for emotional volatility, resilience, and the relentless pursuit of self-expression. Each “stab” feels intimate and personal, while each “bang” feels explosive and public, mirroring the struggle between private pain and outward rebellion. The band channels the frustrations and triumphs of living in a world that often punishes authenticity, turning them into anthemic bursts of sound. Critics have described the track as a dusty highway brawl between ZZ Top, Queens of the Stone Age, and Clutch, and that description perfectly captures its chaotic beauty. The song refuses overproduction or modern pop polish; it stands as a proud statement of what rock truly is at its core, an unfiltered expression of energy, attitude, and freedom.
Ultimately, “Stab Stab Bang Bang” reaffirms The Infamists as masters of controlled anarchy. It is the sound of Southern rock stripped of nostalgia and injected with new voltage, a hybrid of garage chaos and blues swagger designed to ignite every nerve it touches. Its brevity is its strength, leaving no room for filler or hesitation. The band knows exactly when to strike and when to step back, leaving only scorched ground in their wake. This is music made for motion, for sweat, for rebellion, and it captures everything rock should be in the twenty-first century: dangerous, dirty, and undeniably alive. For The Infamists, “Stab Stab Bang Bang” is not just a song; it is a declaration of survival, a two-minute manifesto that snarls in the face of conformity and walks away victorious.
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