News Stories

IN SHORTS #41 📢 Quick News Roundup, feat. new BAD BRAINS album and more!

BAD BRAINS!
Reggae infused hardcore punk veterans BAD BRAINS are working on a new album, a follow-up to their 2012 release, Into The Future. The legendary frontman H.R. revealed the good news in this interview.

From now until February 19th, all Bandcamp sales from PIANOS BECOME THE TEETH’s ‘Wait For Love’ digital downloads will benefit The Choice Program at UMBC. Plus, name your price and we’ll match half your amount! Listen to 3 tracks below and expect the official release on February 16, 2018.


Hard rockin’ metallers TWITCHING TONGUES have posted another new anthemic track from their new album “Gaining Purpose Through Passionate Hatred”. Check out “Kill for You” below and order the record HERE.

British experimental metallers ROLO TOMASSI are streaming a new music video for their song Aftermath! Check it out and pre-order their new record ‘Time Will Die And Love Will Bury It’ at this location.

Sludge rockers THE MELVINS will release their new record “Pinkus Abortion Technician“ on April 20th via Ipecac Recordings.
GO HERE to see the details and their upcoming live dates.

Nottingham blackened screamo infused post metallers UNDERDARK have shared a new split with Nottingham black metallers ANTRE. Mastered by Jack Shirley at The Atomic Garden Studio, 2 epic tracks can be heard below. The split is being co-released by the bands, Callous Records, FHED Records & Grandad Records.


AT THE DRIVE-IN, the defining band for 90s post-hardcore music, will be on tour in Europe later this month. See the dates HERE or HERE. The band have made their ‘Diamanté’ EP available digitally ahead of their European tour dates this February. Previously only available on 10” vinyl, new tracks ‘Amid Ethics’, ‘Despondent at High Noon’ and ‘Point of Demarkation’ are now streaming and ready for download on Spotify.

Prague vicious crust hardcore punks KACZYNSKI are streaming their new split with Opole gritty post hardcore punks AUGUST LANDMESSER, whose side includes a track with guest appearance of Ania from EYE FOR AN EYE and L.A.S.T.! Grab it via DIY Koło, Atman Records, Hidden Beauty Records, Black Wednesday Records, check out a review here and listen to the full thing below. The more savage side of the record sets standards high for the younger crew (KACZYNSKI), and for both acts crushes the ugliness of modern life into the wreckage of well performed crusty hardcore.


A couple of months after the premiere of their great new music video Piaraq, French instrumental post metal / post hardcore act MONTAGNE are back with a new video for the song Foehn, also coming from their debut EP Exorde. The video documents their first European toour and can be watched below.

Decibel Magazine has issued an official video for “Rotten,” the title track to the new album by Edinburgh, Scotland-based blackened grind/metal faction SCUMPULSE, as the record nears release via Gore House Productions next week. Alongside the new video and a brief interview with the band, see SCUMPULSE’s new “Rotten” video at Decibel.

Melodic hardcore band NO BRAGGING RIGHTS are teasing their comeback. The band has been inactive since their 2015 hiatus announcement that followed their van accident. GO HERE to see the details and HERE to check out the poster.

GOOD RIDDANCE will be returning to Australia for a national tour this April, with their first show being in Brisbane on April 20 with the tour finishing in Melbourne on April 27.

Good Riddance is a hardcore punk band from Santa Cruz, California which was formed in the early 1990s. The band grew out of California’s vibrant surfing and skateboarding culture and was influenced by such bands as Black Flag, The Adolescents, TSOL and Bad Religion as well as East Coast bands like Sick Of It All and the Cro Mags.

With the release of their debut album “For God And Country” in 1995 on Fat Wreck, over the next decade Good Riddance went on to release seven full length albums and an EP for Fat while crisscrossing the globe dozens of times on tour.

In May 2007 Good Riddance played their final show, fittingly in their hometown of Santa Cruz. The members then went their separate ways to raise families and pursue careers. In 2012 the members of Good Riddance decided to get together and play a few shows again. The reason was simple: they missed the songs.


FREE (ex HAVE HEART), FREEDOM, and UNIFIED RIGHT did a great tiny show together at The Programme Skate/Sound in Fullerton, California on February 9th, 2018. xMariedetx was there to document it with 3 cool videos, available HERE.

More rumours and details on the upcoming THE SMASHING PUMPKINS reunion have been revealed HERE.

Copenhagen alt post punk rockers ICEAGE have shared a new song “Catch It“, along with a music video directed by Adam Hashemi and featuring appearances from David Dastmalchian (“Twin Peaks,” The Dark Knight). The single marks their first new musicsince 2014 album Plowing Into the Field of Love. Listen below and GO HERE to see their upcoming live dates.

IRON REAGAN and GATECREEPER have each shared another new song from their upcoming split LP due out on March 2nd via Relapse Records. “Warning” (IRON REAGAN) and “Dead Inside” (GATECREEPER) can be listened to via all streaming services following exclusive premieres with Sirius XM Liquid Metal last week.

East Coast crossover titans IRON REAGAN and rising Sonoran death metallers GATECREEPER unite for a split recording of cranium crushing proportions. Across eight new tracks of auditory and lyrical venom, both bands showcase why they’re two of the most talked about groups in extreme metal today! The split LP, mixed by Kurt Ballou at Godcity Studios, is due out on CD, LP, and digital formats.


Louisville gritty rockers BABY BONES are streaming a new song and video Pay Us In Dimes, coming from their debut record The Curse of the Crystal Teeth, to be released via Gubbey Records April 14th, 2018.

Imagine if KISS went punk, knocked up the Queens of the Stone Age but married a surfer girl, then got divorced and remarried the sister of Slayer. That’s what Baby Bones brings to the table. A punk conglomeration of modern sound birthed from the murky waters of music’s excessively scandalous history. The question should not be has Baby Bones reinvented the wheel; nay, the question might rather be: why did they set complete fire to the car that the wheel was attached to?

If anything, Baby Bones oozes the essence of rock music. Guitars fuss and throw tantrums, vocals slither through the jungle of sound, the drums palpitate with rhythm and punctuate with abandon. When you’re prepping for the street brawl, they’ll be your fight music. When you punch a Nazi, they’ll be your theme song. And when you are ready to love again, they’ll be your make-up song.


Houston punks THE COPS have revealed the full stream of debut album with CVLT Nation. The record is out this Friday on Artificial Head Records!

Formed in the Fall of 2016 by members of bands from Houston’s thriving punk rock scene, straight off the night stick it’s worth observing that not only do The COPS dress like police officers when performing live, they actually sing about the system. As tracks like ‘Homicide’ channel the speed freak punk guitar play of The Briefs and Electric Frankenstein, ‘Life On The Beat’ proves itself to be a mean, municipal anthem in-waiting, that sits perversely amidst a throng of Minor Threat, Hot Snakes and Pissed Jeans-loving reprobates.


Portland experimental duo THE BODY have premiered a new single Nothing Stirs, the first new track from their new record I Have Fought Against It, But I Can’t Any Longer, to be released on May 11th, 2018.

With each release, the duo of Lee Buford and Chip King continue to defy the constraints of what it means to be a “heavy” band, seamlessly combining composition or production approaches from hip hop, pop, classical, as well as rock and electronica resulting in a rich and utterly singular sound. Equally at home on festival stages, art spaces, or in DIY basements, they transcend musical boundaries. Their ambitious creativity shapes their bleak worldview into propulsive, affecting, and even danceable music often drenched in distortion. On I Have Fought Against It, But I Can’t Any Longer The Body challenged themselves again by turning their compositional approach on its head, choosing to build the record on their own samples rather than recording the basic tracks of drums and guitars and processing those. The results carry the listener towards the brink of emotional and musical extremes. I Have Fought Against It… conjures the sublime from an unexpected and incomparable variety of sounds.

The Body are known for their intense, abrasive live shows, whose waves of dissonance create an abiding dread or an overwhelming sense of terror. They create a volume of sound almost unfathomable from a duo and are unaffected by instrument choice: guitar and drums, or keyboard and synthesizers. Inventive producers, the duo expand their recorded sound palate with regular contributions from the likes of Chrissy Wolpert (Assembly of Light Choir), and Ben Eberle (Sandworm), arranged with help of longtime engineers Seth Manchester and Keith Souza (Machines With Magnets). Wolpert’s ethereal calls and Eberle’s vicious growl are augmented by Lingua Ignota’s Kristin Hayter, whose impassioned voice features on the viscerally emotional “Nothing Stirs.” On “Sickly Heart Of Sand,” vocal tradeoffs between King and Hayter’s are punctuated with the howls of Uniform’s Michael Berdan. With The Body’s keen sense of balance, the ferociousness of these extreme performances are underpinned by the elegance of string swells and pensive, even melodies from a lone piano.

For The Body, any source of inspiration is fair game to achieve their distinct atmosphere of unbearable dread, pain, and sadness. “Partly Alive” places rolling drum figures, commonly found in pop, and transforms them with a backdrop of horns, skittering synthetic hi hats, and pitched feedback. The oppressive groove of “An Urn” pulls beat arrangement and melodic ideas from disparate electronic influences. Their eclectic sampling choices are both musical and literary from singjay star Eek-A-Mouse to a reading of Bohumil Hrabal to the Clarice Lispector quote on the album’s artwork and beyond. The album title, an excerpt of Virginia Woolf’s suicide letter, is an apt moniker for the pervasive themes of loss, desperation and loneliness throughout. Carefully selected samples and literary references bolster the album’s emotional heft. I Have Fought Against It, But I Can’t Any Longer proves how truly adventurous and diverse a creative force The Body has become. The Body continue to push the boundaries and definition of what is heavy music, their ingenuity unparalleled.

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