Every great rock band has to have a stupid name—like Toilet Rats. Allow looks to deceive you because this unique blend of 80s synth wave, Oingo Boingo goth rock, and indie is super satisfying to the ears. Toilet Rats’ new deluxe edition of their record ‘IV’ is tantalizing to the senses. Every second has hidden gems to dig through and surprises at every corner. Toilet Rats is a solo effort by character performer Tommy Ratz, previously known for work in bands like Farewell Continental with Motion City Soundtrack’s Justin Pierre. Instead of reforming what would now be a niche super group, Ratz has curated his own presence. ‘Toilet Rats IV: Deluxe Edition’ is full of explorative goodness. Prepare yourself to traverse through unfamiliar sonic territory, but the journey is epic.

Fans of The Garden or The Aquabats may recognize the soundscape in the introductory track “Haunted House.” This noise-rock anthem fits in perfectly as a starting point. The song feels like square one, the best way to get your feet wet in this colorful sonic world. Toilet Rats utilizes a lot of creative ingenuity throughout this record, establishing his presence as an expert without doing too much to show off. Instead, this record immediately showcases that he was having fun recording it. At this stage of Ratz’s career, it could go either way. However, his determination is marked by the record’s ethos; there’s a balance between good-natured rock n’ roll fun and seriousness.

There is some heavy-duty (haha. I said “duty.” They’re called Toilet Rats. Get it…) bass playing throughout the rest of the LP. The guitar layers and melodic composition for the hook in “Carol Kane” add a lot of context for me as a Motion City Soundtrack fan. I won’t make too much comparison between the two, but this record came to me as a cosmic gift thanks to this mutual connection. I get recommended many fantastic stuff daily, but rarely do I get this kind of peek behind the wizard’s curtain. I’ve picked our mutual friend’s brain plenty of times, to the point where these connections can be made. However, it’s different to hear it first-hand; there would be no Motion City Soundtrack or the ‘In The Drink’ ep without collaborative efforts like those between Ratz and Justin Pierre. Local scenes collaborate and develop their sounds, eventually impacting the evolution of genres and subgenres on a much grander scale. It’s a fascinating product of the way humans relate to one another. We all pick different parts from our friends, colleagues, and even strangers to develop our personality and, ultimately, our human existence. Also, the song is very catchy.

Speaking of catchy choruses, “Clap Back” is among my favorites from the record. The clever use of actual hand claps makes it a well-rounded mix. There’s a lot of rumbling bass throughout the record, though I believe it’s mixed best within “Clap Back.” Perhaps the contrast between the electronic claps and the “real” bass guitar helped. It’s a nice touch and an ode to carefully curated arrangements, which I’m noticing more in new music. People are more willing to be daring, perhaps due to the state of politics or maybe to scratch a creative itch in the brain.

“Drug Bird” is similarly catchy yet packed with social commentary. Toilet Rats is many things, but revoking their rights as a proper punk band would be disingenuous. Everything, down to their name, screams punk rock. It’s not always serious, but when it is, it’s gut-punching in the best way possible. This is especially true when many feel the heavy effects of US politics. One thing we’ve always had to get us by is the work of excellent musicians who sing what we’re feeling. Records like ‘Toilet Rats IV: Deluxe Edition’ may be unassuming at first glance, but they say to never judge a book or record by its cover. Removing your inhibitions for just one moment can expose you to some exceptionally curated art.

The record’s middle part is gorgeous and evergreen. “Mall Goth” is my favorite song on the record; this is unsurprising, as my style tends to lean towards this trope. But, aside from this, the music is stunningly beautiful, and the repeated motif gets stuck in my head beyond repair. There is a very twinkly quality to it reminiscent of 2000s indie films; of course, it’s easy to think of ‘Juno,’ but I mean like ‘Sky High.’ This was a Disney film, so it’s not quite indie… but only a few Zillennials will understand. It deserved far more recognition, in the way I feel I’ll continually say about Toilet Rats with each new release. “Mall Goth” and this middle part of the record are masterful. It takes an expert to make these choices, whether simple or broad.

These songs would do exceptionally live, with Ratz’s unique one-man-band format helping his case in this instance. He travels the world with his synthesizer, playing hole-in-the-wall venues. However, I feel he deserves some expansion in 2025, broadening out to lineups like Cruel World or opening for The Garden. Plenty of acts would welcome him with open arms as they traverse the same slightly off-center territory that he does. It’s immaculate to hear what the development of technology can do for creatives who wish to create.

Overall, ‘Toilet Rats IV: Deluxe Edition’ is a stroke of creative genius, whether intentional or not. It’s campy, it’s vampy, and it’s just plain good. There are so many moving parts, but they all work together to create something that sounds right. These mixes were not made on a whim; I believe Ratz to be more calculated than what he gives away. Hopefully, he can hold onto his creative visions and keep pushing for ‘Toilet Rats V.’ I will be here waiting, forcing my friends to try it out. “No guys, TRUST ME!”