REVIEW: Cinema Stare - Stink E.P.
- David Waites
- 6 days ago
- 3 min read
Over recent years, CINEMA STARE have built a reputation for writing heartfelt pop-punk anthems that are as infectious as they are emotional. Blending shimmering synth melodies, catchy early-2000s pop-punk hooks, heartfelt lyricism and occasional indie rock textures, the Connecticut outfit wear their influences proudly, drawing inspiration from bands such as PARAMORE while carving out an identity of their own. Their latest release, Stink E.P. is a six-track record produced, engineered and mixed by Chris Teti at Silver Bullet Studios, with mastering by Will Putney. Every song carries a genuine sense of passion, making this a release that feels right at home within the modern pop-punk scene.
Opening track Plus Ultra! wastes no time setting the tone. Rapid percussion and punchy guitars immediately deliver the energy fans of the genre crave before Quinn Miller’s vocals crash into the mix. One of CINEMA STARE’s biggest strengths is how seamlessly every element works together - nothing overpowers anything else. The song captures the feeling of an overstimulated mind through both its frantic instrumentation and sharply written lyrics, something the band have become increasingly skilled at portraying.
Few Things follows with Miller’s softer vocal delivery easing listeners in before the full band bursts into life. Quirky synths and irresistible hooks make it one of the EP’s catchiest moments. Rather than overwhelming the song, Sean Maclure’s drumming remains measured and precise, allowing his technical ability to shine without ever stealing the spotlight. The EP reaches its most explosive point with FML, and the title couldn’t be more fitting. Fuelled by frustration and anxiety, the opening lyric, “Wish I could cry on my own damn shoulder and fuck off forever,” immediately sets the emotional tone. The intensity never lets up until the closing moments, where the instrumentation gradually falls away, leaving Miller’s voice to carry the chorus alone. It’s a simple but incredibly effective ending that highlights both the songwriting and production.
James Pack is the complete opposite. Where FML thrives on chaos, this is a straight-up pop-punk love song. The drums take more of a supporting role, giving Joe Pelegarno’s bass lines room to drive the song forward. His playing provides a constant groove beneath the guitars, adding warmth and character throughout. Every great pop-punk release seems to have its acoustic moment, and Skipping initially appears to fill that role. It opens with distorted conversation before gentle chords and MILLER’s delicate vocals create a reflective atmosphere. Then CINEMA STARE completely tear up the script. The guitars roar back in, the drums explode and the song transforms into one of the EP’s defining moments. Miller delivers one of her strongest vocal performances, backed by addictive guitar riffs, dynamic drumming, rich harmonies and snarling bass work. Even the xylophone outro melting into a synth feels like the perfect finishing touch. It’s easily one of the standout tracks on the record.
Closing song Scissors rounds the EP off perfectly. One thing Cinema Stare achieve throughout Stink E.P. is giving every member the opportunity to showcase their individual talents while never losing sight of the collective sound. Austin Hainey and Quinn Miller’s guitar work is consistently impressive, weaving effortlessly around the vocals while locking in with the rhythm section. The shifting melodies create an uplifting finish, leaving the EP on a genuine high.
Hailed by many as one of modern pop-punk’s most overlooked bands, Stink E.P. only strengthens that reputation. CINEMA STARE feel ready to step beyond the underground scene, and with another tour or two behind them, they have every chance of breaking through. The talent is already there; now they simply need the opportunity to introduce themselves to a wider audience while staying true to their Connecticut roots.
Score: 8/10
Stink E.P. will be released on 7th August 2026 via Static Era Records.
Words: David Waites
Photos: Logan Grosclaude
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