Shake Appeal is Pitchfork deputy news editor Evan Minsker’s ongoing survey of garage rock and punk records. Here, in the third installment of periodic playlists this year, he runs down the 10 best garage and punk rock releases from quarter three (July to mid-October, to be exact). For even more, check out his highlights from winter and spring (or the unabridged rolling Twitter thread).

Sick Thoughts: “Chainsaw” [Goner]

Drew Owen was a screaming Baltimore teenager when he started putting out Sick Thoughts records, and while his early stuff still holds up, he’s aged into his best work yet. Since relocating to Finland—home of modern-day underground punk heroes like the Achtungs—Owen has released Sick Thoughts, a full-length that boils down his music to its most crucial elements. He makes the most of a minute and change on opener “Chainsaw,” rushing in with a barrage of blown-out power chords and barks of “start start start start start the chainsaw.” Bonus points: Owen’s gleeful rampage arrives just in time for horror movie season.

Vanilla Poppers: “I Like Your Band” [Feel It/Drunken Sailor]

One of the best punk albums of 2017 was the self-titled debut from Vanilla Poppers, a band of Cleveland wreckers led by Melbourne powerhouse Christina Pap. They’re back with a new EP, which closes with this 88-second highlight, “I Like Your Band.” Every element of this song helps to make it a thrilling listen—the stomping percussion, the bluesy guitar intro that gives way to fuzzy power chords, and Pap’s rabid, rapidfire vocal delivery. She’s shouting about hanging in the bathroom during the gig, though, so it’s safe to say maybe Vanilla Poppers do not actually like your band.

Brandy: “Life Jail” [Monofonus]

Brandy—not that Brandy—is a bludgeoning new punk trio from New York City. “Life Jail,” a highlight from the group’s Laugh Track, is a beefy maelstrom of monolithic bass, crashing cymbals, and ominous voices echoing into a vortex of noise. The mix of elements is balanced in a way that hints at members’ experience levels: bassist Matthew Hord is in Chicago feedback experts Running, while drummer Peter Buxton and guitarist Jordan Lovelace played with New York garage punks Pampers. Laugh Track may be Brandy’s initial outing, but it's easy to tell it is the work of veteran wreckers.

Timmy’s Organism: “Guzzle Gasoline” [Burger]

Detroit underground king Timmy Vulgar has more projects than he can count on one hand, but arguably the best is his garage-punk band Timmy’s Organism. “Guzzle Gasoline,” the opening track from new album Survival of the Fiendish, kicks off its journey through the wasteland with an actual revving engine. From there, Vulgar half-howls, half-gargles intense lyrics about—what else—the road. “I'm gonna puke fire,” our hero screams a few times. I mean, who hasn't been there?

BB and the Blips: “Shame Job” [Thrilling Living]

When Bryony Beynon of London punks Good Throb was hanging around Sydney, she struck up a friendship with a guitarist named Rowena. Spurred by a Decline of Western Civilization screening, the two decided to start a L.A.-style punk band. If there’s a similarity between BB and the Blips and Decline-era X, it is Beynon’s howling performance, which oscillates from playful to aggressive to harrowing. And like any great political punk song, “Shame Job” is both urgent and fun as hell.

Vanity: “It’s That Way for a Reason” [Beach Impediment]

Recent records from New York's Vanity have proven that there is an undercurrent of pop beneath all that punk fuzz. “It’s That Way for a Reason,” off the band’s new album Evening Reception, shows them fully embracing their power-pop instincts. Here, Vanity frame everything with tambourines, three-part harmonies, and sunbaked electric guitar solos. Summer's over, but remember this one for the next nice day.

Midnite Snaxx: “Faded Pictures” [Bachelor]

On their latest single, Oakland's Midnite Snaxxx paint a bittersweet portrait where broken glass and faded snapshots capture the close of happy times. In another adept flex of their Ramones and girl-group touchstones, they offset all the heartache with upbeat guitar fills and “ooh-ahh” backing vocals. For a song that laments the end of an era, Midnite Snaxxx sure can nail an effortlessly vintage sound.

Negative Scanner: “T.V.” [Trouble in Mind]

To say that Rebecca Valeriano-Flores’ magnetic vocal attack is the secret ingredient behind Chicago’s Negative Scanner is too easy. It dismisses the wiry post-punk guitar, diving bassline, and borderline motorik percussion that make albums like Nose Picker, the band’s recent sophomore effort, so consistently exciting. “T.V.” is built on a foundation of regimented minimalism, which means that any sudden shifts—like Valeriano-Flores shouting that you’re a “PIECE OF WORK”—are cleansing jolts.

Amyl and the Sniffers: “Some Mutts (Can’t Be Muzzled)” [Flightless/ATO]

For a fairly new rock band out of Melbourne, Amyl and the Sniffers have already amassed a reasonably high profile, opening for Foo Fighters and signing to King Gizzard’s imprint. Singer Amy Taylor cements her rock star status with a hard-ass performance on “Some Mutts (Can’t Be Muzzled),” wringing charisma out of grunts and ending each chorus with actual woofs. Dec Martens seals the deal with a massive guitar solo brimming with ’70s hard-rock chutzpah. One of Amyl and the Sniffers’ best songs is called “I'm Not a Loser”; if that's not the truth, there is no truth.

Oh Sees: “Overthrown” [Castle Face]

John Dwyer and Oh Sees put out new records at a such steady clip, it would make sense if some of them turned out to be duds. Their latest album, Smote Reverser, is decidedly not a dud, however. There’s a big-ass demon wrecking shit on the cover, which is an appropriate spirit animal for a record full of scorched-earth shredding. “Overthrown” is all high-speed upheaval, shrieking guitars, and screams about bloody decay. Chaos is where Dwyer does his best work.