So you’re into Ramones? Or maybe The Damned and Stiff Little Fingers? Or melodic punk rock à la Bad Religion or Lagwagon? Or do you lean more toward Violent Way and Oi!? You might think you can’t have it all at once—that you have to choose. But wait—what if there’s a band that blends all of this together into one cohesive sound? That’s exactly what Taker from Buffalo do on their album Sons And Daughters. And what does it sound like? Absolutely fantastic—an exciting ride from start to finish.
Honestly, I find it hard to pin this album down to a single description. Influences from all the bands and styles mentioned above keep shifting in a way that feels natural and effortless, making it incredibly fun to listen to from beginning to end. Taker aren’t the first to mix melodic punk rock with Oi! chants and throw in some rock’n’roll attitude—bands like Vanilla Muffins have done that before—but while they leaned heavily on football culture, Taker inject a strong love for Ramones into the mix. I would also like to add that the band includes members of the projects Violent Way, Corvo, Healer, They Live, Big Dog, Big School, Candy and others.
The album kicks off with Reach Out, which instantly takes me back to the days when I was obsessed with melodic punk rock. Bands like Bad Religion and Lagwagon, a walkman in my pocket, a skateboard under my feet—that whole era comes rushing back, like I’m fifteen again. The vocals also slightly echo Ramones, though at this point it’s more of a subtle feeling in the background. The second track, For You, starts with a melodic intro, and once the vocals kick in, I feel like I’m standing on Rockaway Beach listening to Ramones in their later years. On Big Step, the Ramones influence begins to flirt with the defiant spirit of Oi!, and lyrically it shifts closer to that territory as well. This is pushed even further on We Don’t Call You, with its 1312 theme. The closing track of side A, Boots, gets an extra punch from guest vocals by Jenny Woo, adding more grit while still keeping a strong melodic chorus intact.
Side B opens with Work, once again drawing from the spirit of Ramones—not just musically, but also in its storytelling, with small, relatable tales about belief and everyday life that give the song a peculiar but positive vibe. The band continues building on melodic lines before suddenly turning heavier, shifting toward a Bad Religion or Lagwagon-style approach. This carries on through Alias and No Score, both packed with energy and drive. Game Of Pricks is an excellent cover of the indie rock band Guided By Voices from Ohio, adding a refreshing twist to the album’s sound. The final track slightly recalls Vanilla Muffins, highlighted by a piano line—interestingly, a similar touch appeared on their album Ultra Fine Day, played by Frankie Flame.
This album is definitely not for purists. It’s not strictly Oi!, not purely punk, and ultimately refuses to fit neatly into any single category. What it is, though, is a brilliantly mixed, highly entertaining record that flies by and makes you want to hit play again immediately. Some songs sound like Ramones at their absolute peak, then Alias comes in and suddenly you feel like you’re listening to something closer to Bad Religion or Lagwagon. And just to keep things interesting, Game Of Pricks pushes things into a slightly indie-pop direction. The result is an addictive album, with side A in particular delivering one standout track after another.
The album was released by the label Contra Records in a limited run of 350 copies for Europe, while the band also issued their own U.S. version limited to 100 copies. A nice bonus is that the record includes all the lyrics—something that definitely deserves appreciation.
If you get the chance, grab it while you can. This is exactly the kind of album that hooks you on the first listen—and doesn’t let you go.
TOP TRACKS: For You, Work, Big Step
