White Lung is a female-fronted punk band from Vancouver, B.C. compromised of Mish Way (vocals), Grady Mackintosh (bass), Kenneth William (guitar) and Anne-Marie Vassiliou (drums). They have released three 7-inch’s Local Garbage (2007), Magazines (2008) and Atlanta (2010) as well as two LPs It’s The Evil (2010) and Sorry (2012). Their debut LP It’s The Evil received critical acclaim from Maximum Rock n’ Roll, Razor Cake, CHARTAttack and was named Best Punk Record Of The Year by Exclaim! Magazine. This year, they released their sophomore effort Sorry to even more praise. BLARE magazine named the single “Take The Mirror” one of the best songs of the summer while many critics have added Sorry to their forthcoming Top Records lists for the end of the year. The band has toured the US and Canada extensively and embarked on their first Europe/UK tour in fall of 2012.
Sorry “exists in a comfortable middle-ground between abrasive and poppy,” bound on a “straight path” by “the pure exuberance and bounciness of the record.” – Sputnik Music
“[D]espite White Lung’s threatening devotion to the more venomous corners of rapid-fire punk, Sorry is compulsively listenable due in no small part to singer Mish Way’s successful pinning of a sweet spot between snarled yells, curled syllables, and melodic but equally intimidating, tobacco-tattered verse.” – Pitchfork
“Sorry is a visceral piece of work and it has a sense of feelings and opinions being spat out in an attempt to try and exorcise something that is gnawing away deep within Way…” – Punk News
And if you like it short, stark and on neon orange vinyl, check out their latest 7″ single:
“White Lung frontwoman Mish Way adopts a markedly deeper, gravelly tone on the Vancouver power-punks’ new single “Blow It South”, compared to their last year’s Sorry—but, that record is more about rage than manipulation. They’ve made peace with most of those tormentors now, and they’re out for blood, because they can. “Blow It South” is a relentless aural beating laced with loopy metal riffs that bind the quartet’s all-everything-all-the-time rage to Way’s typically predatory melodies, but on this song her darker howl sounds like a calculated step forward, one far more suited to the sinister pathology her band embraces with a song about releasing someone else’s (sexual) demons– whether or not that person is enthused about the idea.” (Pitchfork)