Mutiny Mutiny, Don’t Quit Your Day Job (out now, self-released, mutinymutiny.com)

When it seems that the world around you has turned to shit, there are two things you can do: get sad or get pissed off. Mutiny Mutiny has chosen the latter. It’s a classic punk-rock move, turning unmitigated frustration into fierce, primal music—accepting angst as your muse. Not all punk rock is equal, however. For every Sonic Youth-, Flipper-, or Buzzcocks-type group are a thousand other bands bashing away creating hollow, eviscerating noise, channeling the angst yet losing sight of the musicality. Thankfully, Mutiny Mutiny’s latest offers a sonic experience that measures up to its message. The music itself is good—damn good. Jason Dean’s guitar alternates among droning noise, soft melodies, and furious thrashing chords, creating a constantly shifting aural landscape, while Jenn Schmidt’s grinding bass remains a steady bulwark, driving the music forward. The group’s new drummer, Stormi King, is absolutely aware her kit comes equipped with cymbals, and she isn’t afraid to use them. The vocal duties are split between Schmidt and Dean, who almost assume an adversarial spirit through each number, to somewhat disorienting effect: The shrillness, the perceivable pissed-off-ness, in Schmidt’s upper register intertwines with Dean’s low-end, shifting mood and feeling throughout the record. The call-and-response trope has worn very thin over the years, but on songs like “Entitlement” and “I’ve Swallowed Alphabets,” it works really well. The lyrics themselves are somewhat cryptic, but delivered bluntly and at a furious pace. Take the album’s final track, “Rapture: Fail,” which opens with “Hallowed be thy/Hollow claims/A kingdom of the mundane/The sacred/The profane/Walked between like drops of rain.” It’s not the words themselves that matter as much as the feeling they elicit in the listener. Don’t Quit Your Day Job is a real advance for Mutiny Mutiny, which already has one solid record on the shelves, 2011’s Constellation. The group draws a lot of comparisons to Sleater-Kinney and Jawbox, but here it’s managed to push the ball forward, further refining its own sound and making more interesting music in the process. (Sat., March 29, 2 Bit Saloon)