Local Review: The Shindas — Bangers and Mosh

The Shindas
Bangers and Mosh
Self-Released
Street: 04.03.2026
The Shindas = The Growlers +  Ty Segall

The Shindas have always sounded like a band committed to having a good time. Since forming in Provo in 2019, the group has built a sound rooted in garage rock that feels effortlessly their own. Their new release, Bangers and Mosh, packs 12 tracks with lively surf-rock riffs and gritty, overdriven guitars. The record captures that rare quality garage rock does best: making you feel like a fan before you’ve even learned all of the words.

The title and cover art itself set the tone for the rest of the album. Playing off the British dish “bangers and mash,” the band swaps “mash” for “mosh,” turning a national comfort food into a punk-inspired pun. It’s playful, loud and perfectly representative of the album’s personality. Even the history behind “bangers,” sausages that burst while cooking during wartime shortages, mirrors the album’s explosive, larger-than-life spirit. The album art complements the music perfectly, looking exactly like it sounds. Drawing from DIY punk and Britpop visuals, the cover carries the same fast, scrappy momentum as the record itself and offers a playful glimpse at what’s to follow.

Musically, Bangers and Mosh draws on classic punk, surf rock and garage rock, with flashes of The Growlers, Dead Kennedys and Ty Segall in the band’s punchy attitude and fast-paced momentum. The Shindas use those touchstones as a launching pad, channeling the spirit of past basement scenes and early-2000s underground culture into something that still feels entirely their own. There’s also a theatrical streak running through the album, giving parts of it an almost cinematic quality. On “Deadbeat,” the spoken-word monologue mirrors the storytelling style of the late ’80s, turning the song into something part punk track, part stage production. It’s one of the album’s most memorable moments and shows how willing the band is to fully commit to the bit — and pull it off.

Alongside this, Bangers and Mosh plays like a complete set list from start to finish. “Road Rash” opens the record exactly the way you’d want: positively infectious, full of personality and bursting with the kind of skater energy and garage-rock swagger that leaves you wanting more. From there, the album builds and shifts naturally with tracks like “Meatloaf,” which gives the record a moment to slow things down before leading into “One Last Thing,” which closes things out on an energetic yet intimate note. It’s the kind of song that lingers long after it’s over, sending you right back to track one so you can listen one more time.

That’s what makes Bangers and Mosh so effective as a full listen: the album never loses its sense of momentum. Every track feels designed to pull people in, balancing scrappy garage-rock intensity with hooks that stick almost instantly. It’s hard not to sing along midway through, and even harder not to dance around to it. The record carries a restless, infectious spirit that makes even its loudest moments feel welcoming. It’s the rare album that earns every minute of its runtime without ever sounding like it’s trying too hard to do so.

That same sense of openness is what makes The Shindas especially compelling. While the band’s roots are planted firmly in Provo’s basement-show culture, The Shindas never feel confined to one local scene. Their sound could just as easily soundtrack a Southern California street concert, a Denver house show or a packed weekend party somewhere miles away from Utah. There’s a youthful atmosphere running through the record that feels refreshing rather than nostalgic — less about looking back and more about making that feeling seem immediate and alive right now. And while the band never takes itself too seriously, there’s no mistaking the craft behind it. These are skilled musicians who just happen to make it look like the most fun job in the world. —Indi Tejeda

Read more reviews of some banger local music:
Local Review: Spencer Sanders — Almanac
Local Review: meg jordan — Miss Hippie 

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