DS EP Review:  Thee Soreheads – “I’m Not Your Fucking Sex Doll”

On November 29, 2025, the four self-described “slightly angry punks” that make up Montreal punk four-piece Thee Soreheads released a debut EP that isn’t “slightly” anything; the unabashedly titled I’m Not Your Fucking Sex Doll is neither sonically nor lyrically measured in any respect, but believe me when I tell you that you wouldn’t want it any […]

On November 29, 2025, the four self-described “slightly angry punks” that make up Montreal punk four-piece Thee Soreheads released a debut EP that isn’t “slightly” anything; the unabashedly titled I’m Not Your Fucking Sex Doll is neither sonically nor lyrically measured in any respect, but believe me when I tell you that you wouldn’t want it any other way.

Featuring tracks with titles like “Riot”, “No Means No” and of course, the titular “I’m Not Your Fucking Sex Doll”, this EP is a full-throated and unapologetic tirade against the quotidian violence and mediocrity of men. Lead vocalist Maria Jiminez hurls her sharp-witted barbs with apparently maleficent glee, delighting in the heads that roll in her wake of her sharpened and straightforward lyricism (and if she doesn’t, well, I certainly do.) With equal parts explosive rage, satisfying catharsis, and finely honed wit, Thee Soreheads deliver six epic, no-holds-barred anthems that even the staunchest chauvinist will find difficult to ignore.

The EP debuts with fuzzy, muted guitar on opening track “3 Strikes” reminiscent of the intro to Richard Hell’s iconic “Blank Generation”, setting the tone for what promises to be an uncompromising record. “I make everyone’s life a living hell,” Jiminez chirps in her signature candyfloss voice – girlish, shrill, and unflinchingly feminine – warning that there will be no second chances for the men who dare cross her. 

Listeners are invited to an intimate dish sesh on the tautological “No Means No” where Jiminez recounts in her cartoonish inflection a classic dive bar tale of unwanted attention and leering glances that invariably backslides into the eye-rollingly predictable “well you’re ugly anyways.” A funky bassline and hooky guitar melody thrum along over a bouncy, hi-hat-accented beat. Every chorus, I found myself shouting “NO!!!” before Jiminez had a chance to finish the titular adage; every woman has longed to shriek the way Jiminez does as the story builds to its inevitable conclusion. If only it were socially acceptable get up on a table and howl at all the men who, like Jiminez says, are “in my fucking space and fucking touching me.”

The record’s title track also serves at its thesis; on “I’m Not Your Fucking Sex Doll,” Jiminez decries a culture of men who treat women like objects, stating in no uncertain terms her refusal to be commodified or taken advantage of. The song contrasts today’s jaded, steel-nerved Jiminez against an earlier, doe-eyed version who might have lacked the experience to recognize the warning signs but who now “wraps [her] fingers ‘round the keys”, a behavioral evolution unfortunately familiar to all women. But Jiminez is no victim; if I’m Not Your Fucking Sex Doll teaches us anything, it’s how to find community in our shared anger in a way that makes us stronger together than we could ever be alone.

The record slows to a more leisurely pace on laid-back “Riot”, a mellow track that nonetheless maintains the sense of defiant fierceness that has been building since the album’s opening chords. Jiminez’s voice swings from sweet to snarling over an ambling, surfy bassline, pausing to let shine a whimsical guitar solo so sweet you’ll almost forget how awful men are. Almost.

Jiminez does some of her best vocal work on the up-tempo “Ratlike”, barking out such gems as “I’m not a violent person but I wish that you would die” over a frantic beat, voice rising to a barely intelligible shriek as she rails against yet another racist, sexist, “white suprema-piece of shit”.

Surf-drenched guitar over a four-to-the-floor beat shines on this EP’s swinging closer, with guitarist Ally McPake delivering another standout solo that bookends the record nicely. This track is something of a counterbalance to a record that thus far has proven to be unyieldingly defiant: “I’m broken, cracked and shattered,” Jiminez admits on the chorus, a moment of sober self-awareness that finds her unsure of where to go after the rage has dissipated, leading us to wonder: after suffering all the bullshit heaped onto us by this evil beast we call patriarchy, how do we go about putting ourselves back together?

It would be inaccurate, or at least incomplete, to assert that I’m Not Your Fucking Sex Doll is merely the cathartic ranting of an angry feminist, as many a miffed misogynist are likely to characterize it in an attempt to soothe their fragile feelings. It’s also a decisive proclamation of a refusal to be further mistreated and a call to arms to all of us to do the same. This explosive EP should be mandatory listening for every whiny man who’s ever made a fumbling, skeevy pass at a demonstrably uninterested woman and every self-proclaimed “nice guy” who bemoans his idle love life but refuses to examine his own behavior. With clever songwriting and the ability to spin a catchy melody and make it stick, I’m Not Your Fucking Sex Doll is a standout debut EP from a talented band that should be on every punk’s radar. The group is promising big things in 2026, so stay tuned for that, and head over to the group’s Bandcamp while you wait to cop a freshly pressed vinyl copy of this riotous record.

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Tours: Hot Mulligan announce more tour dates

Hot Mulligan continues to support the release The Sound A Body Makes When It's Still into 2026 with tour dates in Europe/UK, Australia and Japan. Delta Sleep will be supporting the European and UK dates, and Saturday at Your Place and Forests will be supporting the Australian dates. Tickets are already on sale. See below to check out the dates.

Shunk release video for "Party Girl"

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The Spuds MacKenzies cover Chappell Roan

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Stevo32 of Sum 41 in the studio

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Private Function recording

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NOFX announce two new 10-inch EPs

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Jello Biafra's 1989 Toyota sells for $33,600

Last week, Jello Biafra auctioned off his 1989 Toyota Celica GT convertible. Jello pointed out that the money would not be going to him, but would be going to Alternative Tentacles in order to fund represses of the label's back catalog. in the initial sales pitch video, Jello stated that he did not think the car would sell for more than $8,000, the standard market value of similar era Celica's with lower mileage. well, the car sold for $33,600. Congrats to the lucky buyer! AT recenly reissued Nomeansno, Lard, and Jello Biafra and the Guantanamo School of Medicine.

DS Interview: Spike Slawson talks Gimme Gimmes, Process, and New Christmas Single

Gimme Gimme’s frontman, Spike Slawson, has built a punk rock career defined as much by humor as by heart. His Contributions to punk rock over the years have varied from bands like the Swingin’ Utters and the Filthy Thieving Bastards to other projects, such as Uke Hunt and Los Nuevos Bajos. However, for thirty years, […]

Gimme Gimme’s frontman, Spike Slawson, has built a punk rock career defined as much by humor as by heart. His Contributions to punk rock over the years have varied from bands like the Swingin’ Utters and the Filthy Thieving Bastards to other projects, such as Uke Hunt and Los Nuevos Bajos. However, for thirty years, Spike has led the Gimmes Gimmes through a series of cover albums, each with a distinct theme. While the band has primarily played pop classics from the 1960s and 1970s, they’ve occasionally expanded their sound to include other genres, such as show tunes, R&B, and country.

As time passes, even a band with interchangeable parts can lose some of its original members. The Gimme Gimmes have not been immune to this. Legends of the scene, CJ Ramone, “Swami” John Reis, Andrew “Pinch” Pinching, and Jake Kiley, round out the current lineup of the Gimme Gimmes, but this iteration of the band has mostly been intact for the last five years.

This Christmas, Spike and the Gimme Gimmes have released a cover of Mariah Carey’s Christmas classic, “All I Want For Christmas Is You.” Not satisfied with just a digital release, Fat Wreck Chords has pressed a red flex disc along with a calendar for the new year. Spike was nice enough to talk with Dying Scene about leading the Gimme Gimmes to cover band glory and their new holiday-themed release.


Dying Scene (Forrest Gaddis): When the band first started, was there ever any intention for it to grow as big or as long-lasting as it has?

Spike Slawson: We are as mystified as you. I guess it doesn’t hurt choosing songs that were already huge hits and having the handsomest singer of this or any genre.

From the outside, it feels like the band’s success kind of snowballed. Did it feel that way from inside the band, or was it more deliberate? 

The Gimmes don’t decide so much as default. I admit, I was pleasantly surprised by the initial buzz. Again, picking already popular songs probably contributed to our success, like shooting fish in a barrel. All that was left were the outfits.

When you’re deciding on a cover, what makes a song right for the Gimme Gimmes? What are the deal-breakers?

If it takes longer than 15 minutes for us to get something together, we’re probably on the wrong track. It ain’t rocket science, that’s for fucking sure. I generally try to avoid songs I actually like.

Is there a song you loved when you first started covering it, but eventually fell out of love with after playing it so much? 

Seasons in the Sun.

Is there a cover the band has done that you wish fans appreciated more? 

Sunday Morning Comin’ Down, but I really don’t care who appreciates it. The song speaks for itself.

Do you ever feel like the pool of “perfect” Gimme Gimmes songs is shrinking as time goes on?

You build it, we will vandalize it. Luckily for us, ego, megalomania, and self-regard continue to drive people to write shitty pop songs, just as they inspire us to misappropriate them. We will never want for raw materials, and we will never stop exploiting them for our own enrichment and sick pleasure. 

Are there any true “white whale” songs you’ve wanted to cover but just haven’t been able to crack?

Teenage Rampage, by the Sweet, but it’d probably be redundant. Also, I’m a little past my teens.

Has being in the Gimme Gimmes unintentionally made you more aware or more critical of pop music as you’ve dug deeper beyond the obvious classics? 

I love pop music, but most of it is abysmal these days. I guess it’s always been pretty bad and we only end up remembering the cream of the crop. The Gimmes are living proof, however, that the scum also rises.

Despite the band’s rotating lineup over its existence, the current version of the Gimme Gimmes has been pretty stable for a while. What has that consistency changed or improved for the band?

The current iteration has a unique chemistry that feels brand new, yet recognizably rooted in the band’s original sound and spirit. If you play for an hour and a half with the same group of people night after night, year after year, you can’t help but develop personal and musical bonds, which I think resonate out to the listener.

What do the newer members bring to the Gimmes that wasn’t there before?

Sensibilities that weren’t necessarily formed by ‘90s pop-punk music and culture, for starters. I had certainly begun to feel somewhat jaded, and vibing with players with different styles and techniques really put the petrol back in the tank.

Does that freshen up ideas of what songs or genres are worth covering?

Absolutely, but the science behind the selection remains essentially the same. We’ll know in 15 minutes or less if it’s bullshit, which is good because we start with a LONG list.

What’s it like having a Ramone in the band, both musically and symbolically?

A dream realized. A walking, talking, SLAYing piece of punk rock and roll history, who knows exactly where to put it. There is rich symbolism in the fact that even a Ramone couldn’t escape the fate of eventually wearing sequinned pants and playing Paula Abdul songs in a cover band—in THE cover band, that is.

The Gimme Gimmes have tackled Christmas before, but “All I Want for Christmas” is a standalone holiday single. What made this the right time to revisit a Christmas release? 

Christmas is always right around the corner, and we are always ready. Any time is the right time for Christmas time, as I am constantly saying.


The single is coming out as a limited red flexi disc packaged inside a 2026 calendar. How involved was everyone in deciding on that format?

What is this, a fucking democracy? Take it from me, these cover bands need to be run with an iron fist, or they’ll walk all over you. First, they’re weighing in on “formats”, next thing you know they’re picking their own outfits and making song suggestions. 

You’ve been on the road this winter to celebrate the release. Do holiday shows feel different from regular Gimmes shows, either from the band’s side or the audience’s? 

I hope so. We put a lot of work into our Christmas presentation. We are non-denominational, but OH, so devout. 

Does playing holiday material change the energy or pacing of a set compared to usual shows?

People secretly want to sing cheezy Christmas songs till they’re hoarse, and we give them permission. I guess it’s the same with all our songs, but the Christmas stuff is tied to a specific, yearly celebrative experience. Christmas parties are the wildest anyways.

What is it about Christmas songs that still makes them such a good fit for the Gimme Gimmes?

They’re kinda corny, and honestly, that’s our forté. 

Is there a genre you’d still love to tackle as a full concept record?

I feel like we still haven’t even scratched the surface of the ‘70s AM adult contemporary canon. There’s so much sublime mediocrity there, and we are definitely here for it.


“All I Want For Christmas” is streaming everywhere, but for that last minute gift for the record collector on your Christmas you can purchase the physical copy of the single here.

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