On their eponymous debut, the Dallas-based BAD STUFF (featuring members of the critically acclaimed True Widow) aims to deliver one of 2026's most engrossing and cinematic slow-burning rock records.

The band's alternative, almost Lynchian take on the genre is palpable from the onset of the album opener, "Sullen": Nicole Estill's bare kick-snare rhythm makes way to contemplative, laid-back guitar and bass twangs from DH Phillips and Laura Hartman, churning into an ebb and flow alongside moody keys and a cool, almost-funereal vocal delivery from Jackie Dunn Smith. What follows feels like a journey across fuzzed-out passages of surreal, dreamy introspection.

Elsewhere on the album, the glossiness of a song title like "Summer Girls" is offset by a creeping, repeating guitar and bass riff that builds and builds as the lyrics explore melancholy:

"Summer girls only cry in their dark rooms

Summer girl keep their faces dry

To remain unseen means to survive

Affection traps, affection dies."

Immediately after, "The Invisible Man" offers a first-hand account of dejection: a loss of love as told by Phillips and vocalist Gabriel Spatz - "an analgesic marriage - born of boredom and fear." In contrast, tracks like Nepenthe simply explode with fuzzed-out bass at the forefront, chugging along heavy, borderline sludgey riffs.

Through these stories and atmosphere, the darkness and mystery steeped in Bad Stuff can feel all-too real.