Album Review: Rock Resurrection

There is a restless, caffeinated energy currently vibrating out of Wellington’s underground, and it goes by the name Rock Resurrection. Led by the Mackie brothers, Oliver and Tommy, this teenage outfit has rapidly evolved from their 2024 garage roots into a four-piece force that bridges the gap between classic skate-punk and modern alternative rock. Their brand new self-titled album is a journey through the history of the genre, showing a band that isn’t afraid to outgrow its own skin.

After the short intro that is Swimming In Tears, the album kicks off with Drowning, a track that immediately leaps into the golden era of 2000’s pop-punk. With a lightning-fast drum gallop reminiscent of NOFX’s Linoleum and the melodic accessibility of Simple Plan, it’s a high-octane intro. Interestingly, underneath the distorted punk exterior, the track utilises a 12-bar blues chord structure – a subtle nod to the foundational rock roots that give the band their name.

The momentum carries into Why Do U Hate Me?, where bassist Isaac Baty and guitarist Elliot Conlon make their presence felt. The track features a driving 2/4 beat and a crisp, polished mix that feels tailor-made for Kiwi radio waves. The standout here is the interplay between the rhythm section and a soaring melodic guitar solo that adds a layer of sophistication often missing in “bedroom” punk.

As the record progresses, the band begins to flex their technical muscles. I’m Sick of Waiting For This To End pulls the tempo back into a Blink-182-inspired groove, allowing Oliver Mackie’s vocals (arguably the band’s strongest asset) to sit prominently in the mix. There’s a distinct rap-rock cadence in the layering here, nodding to the genre-blending experimentation of Sum 41.

However, just as you think you have them figured out, Big Don throws a curveball. Starting with a nod to The Bombpops, it quickly shifts into a gritty “Oi!” anthem, featuring aggressive, shouty vocals that wouldn’t feel out of place on an A Wilhelm Scream record. The Iron Maiden-esque guitar harmonies over the fast 4/4 beat highlight the band’s impressive versatility.

The album’s ‘Side B’ takes a moodier, more dissonant turn. Tracks like Brand New Thing and The Same Old Things show a shift in influence from Good Charlotte toward the technical precision of Strung Out or Propagandhi. The guitars become more tangled and aggressive, with the solo work doing the heavy lifting to maintain the melodic thread.

A true highlight is the acoustic departure, Never Good Enough. Swapping the distortion for what sounds like a lush 12-string steel guitar, the band delivers a heartfelt heartbreak anthem. While the production on the drums feels clinical and precise throughout the record, this track allows for an emotional vulnerability that will undoubtedly resonate with their growing fanbase. The guitar solo here is nothing short of a stadium-rock moment that channels the spirit of Guns N’ Roses.

The album is definitely a ‘Rock Resurrection’. A definitive statement that blends Yellowcard-style hooks with rock riffs. While the production carries a clean, digital crispness that reflects the modern era of independent recording, the raw talent of the Mackie brothers and their new cohorts is undeniable.

Rock Resurrection is a band in the middle of exciting times. They are at their best when they lean into their melodic sensibilities while letting their technical guitar work run wild. For fans of high-energy pop punk with a polished edge, this is a band that you need to keep an eye on. I’m looking forward to catching their live show soon as I’m sure these tracks have even more bite in a loud room.

Standout Track For Me? Never Good Enough!