Music Videos FUCK THE FACTS – “Solitude” video July 18, 2015 1 min read “Solitude” comes off FUCK THE FACTS‘ upcoming album called “Desire Will Rot”, to be released via Noise Salvation Records on August 25th! GO HERE to watch IDIOTEQ’s video interview with FUCK THE FACTS! Desire Will Rot by Fuck The FactsDesire Will Rot by Fuck The Facts Share this Facebook Messenger Twitter Whatsapp Reddit Email Tags: death metalfuck the factsgrindcorenoise salvationrelapse records Karol Kamiński DIY rock music enthusiast and web-zine publisher from Warsaw, Poland. Supporting DIY ethics, local artists and promoting hardcore punk, rock, post rock and alternative music of all kinds via IDIOTEQ online channels. Contact via [email protected] You might be interested in June 2, 2026 Emo punk rockers RACOONHEAD premiere “Same Old Haunts” video, shot on a live Melbourne airport runway June 1, 2026 THE VENUS CHILDREN turn “Amygdala” into a cult chant and a summoning of the brain May 25, 2026 BEYOND THE STYX return with “DIVID” on Innerstrength Records, vocalist Emile breaks down the war, the borders, and the band’s slogan May 21, 2026 Fjord noir act VELCRO DOG returns with a major-key experiment wrapped in depressive lyrics on “The Gonzo Futurist Manifesto” Previous Story STATE CHAMPS – “Secrets” video released; European tour dates unveiled Next Story COLISEUM – “Sharp Fangs, Pale Flesh” video Latest Metal/hardcore hybrid OMIT ALL traces AI outsourcing, parasocial dependence, and endless war across “Lights Up on The End Stage” Brighton emo band HAD SANDY talk spirituality, Citizen, Trophy Eyes, and “t’other side” “Those Dark Roads”: Cleveland punks SAINTS OF LORAIN premiere debut album THE DHARMA CHAIN unlock a hypnotic journey with “Some Kind of Pure State” New wave goth rockers VELVET MIST unveil a five-track concept EP about almost losing the light
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May 25, 2026 BEYOND THE STYX return with “DIVID” on Innerstrength Records, vocalist Emile breaks down the war, the borders, and the band’s slogan
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Metal/hardcore hybrid OMIT ALL traces AI outsourcing, parasocial dependence, and endless war across “Lights Up on The End Stage”