Night shifts in a hotel in Norway, cheap headphones, “Kezia” going round somewhere between two and five in the morning. That is where PROTEST THE HERO got me. I never really stopped
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There is a small moment inside “Loss In Space” where Cluv Deego can be heard telling bassist Dudesblood Moonbear when
High Vis, Bad Religion and The Offspring shared the stage. What united the day was everything happening in front of
Kali Yuga, Buddhafield and a Messiah complex run through the titles on Viscera///‘s fourth album, but none of them promise
There is a stretch of the year in New England when the colour has gone and the woods stop pretending.
“Urban Abyss” starts with someone trying not to give in to failure. By the end, humanity has contacted unknown beings
At a bus stop somewhere on Long Island, Dimming set up LED strips, a portable power bank and enough loose
Every song on “Collecting Sentiments of a Derailed Past” had been written, recorded, mixed and mastered before Russ Weisenthal’s mother
The missing space in the title carries the idea behind Brec Destroyer’s new single with Void.404. The lyrics give grief
Antillectual are spending 2026 marking twenty-five years as a band. After anniversary shows in the Netherlands and Canada, their summer
Keziah “KZ” Staska was at home, surrounded by peace, love and joy, and had no idea how to write another
track by track
You could try to plot Overton somewhere between Danzig and the shout-along end of melodic punk. Piebald, Antillectual, and The Menzingers all live in that direction. The map won’t help much. Easier
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There’s a strand of hardcore coming out of Central Europe right now that trades speed for weight. Records where the pulse slows, the chords sit longer, and the lyrics start to read like pages you’d sit with in a quiet room. Brach from Offenburg
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The volume on “Fragment” starts low, and Astoria left it that way
Vocals on “The Anatomy of an Atomic Heart” shift fast. Clarissa handles
Mik was on her back trying not to move. Sebastian Pielnik, the
No guilt. And no more screaming. I’m not yours. I don’t owe
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Low, heavy bass under blunt drums, with a guitar cutting angular lines across the top: that is roughly the shape of Wealthy Women, and on their debut album the band gave the shape a rule. The heavier the subject, the further the tunings drop
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On the cover, the Louisiana state capitol and the Mississippi river bridge
New York runs on people it would rather not see. The ones
Forked River is not a big place, but on most weekends there
Brutal, filthy, lo-fi, scuzzy. Those are the first associations that come up
