With their new album “The Bridges That We Burn” Ultrabomb have delivered a masterclass in how punk rock can call out political and social issues but still put a smile on the listeners face. Formed in 2021 and now comprising Greg Norton (Hüsker Dü), Derek O’Brien (Social Distortion / Agent Orange / Adolescents) and Ryan Smith (Soul Asylum) Ultrabomb have channelled their collective musical histories to deliver an album that – while rooted in classic power-pop and punk sensibilities – seems entirely relevant in 2026. With lyrics that speak to a frustration with modern life (polarisation, alienation, lack of community) that frustration is harnessed into a high energy set of songs that urge us to find positives and drive forward through that uncertainty.
“Darwin Awards” propels us out of the starting blocks and sets the tone for the album with a compelling and cautionary tale spun over an urgent and agile melody, advising us to reconsider the choices we make collectively and individually. “We drink a toast to our genius and the bridges we burn ….we chase the highs ignore the falls …, Bad choices make good stories if you live to tell the tale”. It’s a simple but powerful message, possibly addressing the short sighted and self-destructive tendencies of a specific cohort of American society.
From this power pop opener the atmosphere shifts suddenly with “Divert/Deflect” and it’s a strange and unsettling mantra, full of threat. The fact it is tracked between two of the albums most uplifting songs shows brilliant purpose, which amplifies the album’s contrasting themes of discomfort and positivity.
“Artificial Stars”, the first single released from the album, is a wonderful romp with cascading harmonies, all underpinned by a driven and compelling melody that shifts from uplifting to fractured and back again. A song framed around the idea that while we are (self?) interred in our basements we deny ourselves sight of the real stars and settle for less. But there remains a desire to reach for something better: “What will it take to startle you awake?”
“Zombie Zeroes” is something of a throwaway but does serves as a segue to “No Cap” which is a real standout on the album. An anthemic and uplifting blast of energy it rails against the volume of low quality input and discourse we are surrounded with in our daily lives, and how it can become overwhelming. As Greg Norton has explained: “There is a lot of noise to keep us distracted. Everyone has an opinion, informed, and not informed. I’m at capacity”.
In an album that lyrically explores themes of cutting through the noise and distractions to find purpose, musically it also creates tension and release by balancing the melody and dissonance at the heart of this genre. “Sicko Rants” offers some beautiful Beatle-esque melodies behind a lyric exploring division and superficial debate, and serves to reinforce the pedigree of the songwriters behind Ultrabomb. It’s a thing of joyous rage. “Checked Out” lyrically and musically describes disassociation and transition, using the transience of the touring life as allegory for a more general dissatisfaction with the present and the need to continually move on to avoid losing oneself. “Look Forward in Anger” offers us a rallying cry to unify and push on as we’re all dealing with the same problems, propelled by a driving riff born from a rich legacy of rock and roll.
“BSS” and “Last Time” are for me the two weakest songs on the album, and detract somewhat from the overall quality of the release but undoubtedly would be favourites in a live set. However closer “Mosquito Crucifixion” is an absolute banger, and will I’m sure take the roof off when they play it live on the upcoming tour. All in all this is a strong album with some stand-out singles and offers us a timely and much needed message of unity, hope and positivity. Recommended.
Ultrabomb: The Bridges That We Burn – Out 1 May 2026 (DC Jam Records / Virgin Music Group)
