That has happened to Nox, the emerging D.C. punk trio whose members are still in their teens.

“There’s nothing that really separates us [from other bands] besides our age,” says guitarist and vocalist Anna Wilson, 16. “I think the only limiting thing is that we can’t tour and we have trouble getting paid at times.”

That won’t last forever. The members of Nox know what they’re doing. That’s clear from their music, particularly the band’s latest song. On “Entitled,” the group’s rolling guitar lines, pounding bass throbs and chilly vocals come together for a seasoned, familiar sound. If anything could betray the musicians’ age, it may be their lyrics, which exude a certain millennial ennui.

“Nox is angst-central,” says drummer Claire Lewis, 15.

Wilson, Lewis and bassist and vocalist Stella Green, 18, formed Nox under the guidance of Ex Hex leader Mary Timony. The trio’s music has all the makings of a classic D.C. punk-rock band — head-banging instrumentals, pointed lyrics and production credits from Timony and ex-Fugazi drummer Brendan Canty, whom they met through family and friends — and they’ve already played a few high-profile gigs, sharing the stage with established bands Waxahatchee, Downtown Boys and Priests.

Wilson and Lewis, along with 18-year-old bassist and vocalist Stella Green, have made music together since 2009. They started out playing covers of The Go-Go’s but eventually developed their own material. Green and Wilson wrote their first songs in middle school.

“When I was in the 7th grade, I was getting into a lot of punk music that was political,” Wilson says. “But the thing was, I was in the 7th grade, so I didn’t have a lot of politics. I would just write about how much I hated standardized testing.”

They had always wanted to record their music, but it took some time to muster up the money to do it. So they saved up money from shows and T-shirt sales.

Asked about the band’s savings plan, Green says, “We had a box.”

“It’s a shoebox,” Wilson adds.

In the past few years, Nox has strived for independence, with Wilson handling most of the band’s bookings. She’s also been studying up on how to get a tax ID and fill out W9 forms.

Beyond business, Nox’s love of yesteryear rock runs deep. Lewis’ first concert was Cyndi Lauper and The B-52’s. Green cites a love for Queen and the similarities between her hair and that of Brian May. With shaking hands, Wilson credits Joan Jett for giving her a “formative music-listening experience.”

“The first music that I got passionate about was punk music,” Wilson says.

“[Punk is] best for a live show, too,” Green adds. “It’s very fun and very intense.”

Green leaves for New York University in August, which might put Nox on hiatus. But the band is staying busy in the meantime. Nox has a seven-song release — called Space Candy — planned for this summer, plus plenty of shows.

“Anyone can do this,” Lewis says with a smile. “People think that to get shows and to play music and be a band, they have to be some kind of prodigy or really, really, really amazing or have to know everyone. But it’s really not true.”

Wilson concurs. “It makes me sad to see people who have music in them to think, ‘Oh, I just need to wait for somebody. Something will happen and if nobody reaches out to me, I’m not good enough and I should just quit.’ That’s not true.”

“Make people listen to your music,” the high school sophomore says, grinning.

Nox plays June 26 at VFW Post No. 350 in Takoma Park and July 9 at Hole in the Sky in D.C.

“I came not to work, but dressed to party,” Stubs says. “I had a little skirt on.”

Usually, when Stubs checked in at the downtown D.C. rock club, she was there to do her job: run a camera. She’d seen more than 1,000 acts during her 10 years at the venue. Most of the time, though, Stubs didn’t record them — from her seat above the audience, she normally just shot for the in-house video system.

But this was New Year’s Eve of 1995, and Tiny Desk Unit was getting ready to play the final show on F Street before 9:30 Club moved to a bigger building uptown. It cried out for documentation. Stubs wasn’t on the clock, but her pal couldn’t let her miss this one.

“A friend said to me, ‘Get your butt in that chair. You’re gonna regret it the rest of your life if you don’t shoot the last band that plays there,'” says Stubs. “I said, ‘I have a little skirt on! I don’t think I should get up there.'” But her friend insisted. “Get your butt in that chair,” she said.

“So that’s exactly what I did,” Stubs says. “I got my butt in the chair and held my legs tight together that night.”

That video went into Stubs’ small collection of tape she’d shot at 9:30 Club, much of which sat in her Takoma Park house after the venue relocated and retired its camera-operator position. It took Stubs 20 years to find a new home for the videos. Now they live at the D.C. Public Library.

“Over the years I kept thinking, ‘OK, I’m gonna digitize these things,’ and I never got around to it,” Stubs says. Brendan Canty, the former drummer of D.C. punk legends Fugazi, suggested that she donate them to the library’s growing D.C. Punk Archive.

Now, the library can boast that it has original footage of Nine Inch Nails, Gwar, Psychedelic Furs, Youth of Today, Mudhoney, Jawbox, Seven Seconds and Fugazi — among many others — playing 9:30 Club back in the day. (Her Tiny Desk Unit video isn’t there, but it’s on YouTube, above. See a complete list of her donations, below.)

Rumors have swirled for years that someone, somewhere, must be sitting on a goldmine of old 9:30 Club footage. Stubs probably has the closest thing to it — and there may be more tape she hasn’t found yet, she says. But her collection isn’t exactly vast.

“People were far more protective of their music at that time,” she says. “Most of the time, the best work I ever did was gone. It was not recorded… It wasn’t like people today, recording things with their cell phones.”

Stubs’ contribution to D.C. music history is now digitized and accessible to anyone who visits the Martin Luther King Jr. Memorial Library downtown. Librarian Michele Casto says members of the public just need to contact her division to arrange a viewing. (Some of the videos were also shown at 9:30 Club’s recent World’s Fair exhibition.)

Stubs looks back on her 10 years at 9:30 Club warmly. But she says it wasn’t all bad that the venue stopped filming shows when it relocated to V Street. If it hadn’t, she doubts she would have moved on.

“I’d be a geezer up on the pole,” Stubs says, laughing. “It would be so hard to give up that job.”

A list of the 9:30 Club performance videos Teri Stubs donated to the D.C. Punk Archive, by band name: Adolescents, Clutch (four tapes), Cop Shoot Cop (two tapes), Executive Slacks, Firehose, Fudge Tunnel, Fugazi (three tapes), G.I., Gumball, Gwar, Happy Go Licky, Henry Rollins, Holy Cow (four tapes), Ignition, Jack Hammer, Jawbox (three tapes), John Sex, Killing Joke, Kingface, Lucy Brown (four tapes), Marginal Man, Mudhoney, Nine Inch Nails (two tapes), Pain Teens, Psychedelic Furs (two tapes), Royal Crescent Mob, Seven Seconds, Slickee Boys, Sonic Youth, Strange Boutique (two tapes), Sugartime, That Petrol Emotion, Thud (six tapes), Velocity Girl, Who is God, Youth of Today.

Top photo: A screenshot from Teri Stubs’ video of Tiny Desk Unit’s Dec. 31, 1995 show at the 9:30 Club.

But that was the burden foisted upon Martha Hull and her husband, Bob Berberich. In late September, their basement record store in Frederick, Maryland, was overcome by floodwaters brought on by a massive storm.

“We’ve been in the building for about two years and we, personally, have not had any flooding issues,” says Hull, who opened Vinyl Acres with Berberich in 2013. “We have heard that there have been some floods in the past — last time about four years ago, but nothing on this scale.”

The storm on Tuesday, Sept. 29, dumped about five inches of rain on downtown Frederick, impacting numerous stores along the city’s popular commercial strip. But Vinyl Acres got hit particularly hard. Most of the record shop’s merchandise was either damaged or destroyed.

“The water on Patrick Street was so deep that our stairwell just filled up, and the force of that six feet of water just pushed the door right in,” says Hull. “The water hit like a tidal wave, knocking over two 300-pound glass display cases in addition to a whole lot of lighter stuff.”

The store owners can’t put a dollar amount on their losses. They say it’s tough to gauge because the value of used vinyl and CDs lands somewhere between their purchase price and whatever sale price they can get. But it was immediately apparent that the flood had dealt a mighty blow.

Then the shop owners’ luck kicked in.

Hull and Berberich have deep roots in the Washington, D.C., music scene. Hull fronted local legends The Slickee Boys for the band’s first two years, later playing with D.Ceats, Steady Jobs and The Dynettes. Berberich played with The Hangmen, Grin and The Rosslyn Mountain Boys, among others, and he still plays music today. The Slickee Boys, in particular, still have a community of committed fans.

After the flood, the Downtown Frederick Partnership started a GoFundMe page to solicit donations for Vinyl Acres. In just a day, the shop had raised nearly $6,000 for its recovery fund, with a big chunk from folks involved in the regional punk and rock scenes.

Music filmmaker Jeff Krulik, Old Indian frontman Cory Springirth, Danny Gatton biopic director Virginia Quesada, Kevin Longendyke from The Ar-Kaics and Dig! Records and Vintage, Punk the Capital co-creator James Schneider, Mobius Records owner Dempsey Hamilton, WHFS documentarian Jay Schlossberg and ex-Fugazi drummer Brendan Canty were among the donors.

Canty says helping Vinyl Acres was a no-brainer. He relishes traveling from D.C. to buy records in the shop’s neighborhood.

“Frederick is a record-buying Mecca,” Canty says.

A little more than two weeks after the campaign launched, Vinyl Acres reopened. It rounded up some local bands and hosted a reopening party Oct. 17.

Hull calls the GoFundMe campaign “something we never would have thought of ourselves, and it has been like a miracle.” So far, the ongoing effort has raised more than $10,000 with donations from 176 people.

Without the outpouring of help, Vinyl Acres might have seen its last sale.

“This, and an astonishing amount of support, manpower, donations of supplies and salvage equipment — plus actual records — are already what has prevented us from closing for good,” Hull says. “We are so grateful and overwhelmed we can’t even pull together a proper expression at this point.”

Vinyl Acres’ GoFundMe campaign is still accepting donations. On Oct. 30, JoJo Restaurant & Tap House plans to host a benefit for both the record store and Whidden Willow, a Frederick boutique damaged in the flood.

Ally Schweitzer contributed to this report. 

On these early recordings, songs like “Waiting Room,” “Bad Mouth” and “Song #1” sound just a few tweaks away from their final recorded versions, but sometimes roomier, sillier, more experimental (or just unfinished)—and in one or two places, dubbier. Joe Lally’s bass haunts and grooves, but with five percent less polish. Brendan Canty snaps and cracks. Ian MacKaye, though only in his mid-20s at the time, doesn’t sound squeaky. Guy Picciotto sounds like Guy Picciotto.

The demo includes “Turn Off Your Guns,” not originally included on the demo, which the band gave away for free at its shows. The reissue officially drops Nov. 18.

Not that Sunwolf is some kind of one-hit wonder. While they were here, the band ripped into another standout, “Let It Out,” which may have to share the throne with “Push It.” It’s a hard one to forget.

After the session, the band sat down with longtime D.C. musician Brendan Canty (of Fugazi, Deathfix and numerous others) for a casual chat. Listen to that lively (and very funny) interview up top.