September 20, 2023 Ukrainian synth pop rockers HACKEDFACE: embracing emotional resonance amidst uncertainty
September 20, 2023 Navigating the musical multiverse of NOTILUS: an experimental electro-jazz journey into “II”
September 20, 2023 BLOOM inks a deal with Pure Noise Records, unlocks new era with “Bound To Your Whispers”
September 20, 2023 Metalcore pack CAULDRON strikes back with new son and video ‘Standing in Awe of a Monument’
September 20, 2023 STILL HERE’s ‘Plaster Saint’ amplifies the voices of the alienated – watch new video now!
September 19, 2023 UFOMAMMUT unveils ‘Crookhead’ EP: a portentous premonition of their 25th anniversary milestone
September 19, 2023 Metalcore act A MOURNING STAR shares “Would It Be Easier If My Flesh Tangled Through This Blade”
September 19, 2023 Noise rock sludge architects MODERN TECHNOLOGY unveil elegy for our times with “Conditions of Worth”
September 19, 2023 In the Eye of the Storm: OBRIJ’s “Імперія бидла”, a furious manifesto on modern conflict
September 19, 2023 Louis Jucker & le Nouvel Ensemble Contemporain’s nuanced journey in “Suitcase Suite”
September 18, 2023 “One More Time…” BLINK-182’s long-awaited reunion album defines a chapter in resilience and brotherhood
September 18, 2023 Reclaiming Hardcore: REACH A.D.’s intense visual unveiling in “Welcome To The Misery”
September 18, 2023 Unveiling the fragile heartbeat of SOMEWHERE SOUTH OF HERE: a one-year retrospective of “Leave Me for the Crows”
September 18, 2023 “Con Uno Sguardo Solo” reveals the uncompromising trajectory of NOVERTE’s take on screamo and post hardcore
September 15, 2023 SERRATION’s ‘Simulations Of Hell’ serves a brutal fusion of metalcore and hardcore
September 15, 2023 DOG EAT DOG release video for “Man’s Best Friend”, another new single off of ‘Free Radicals’
September 15, 2023 French melodic hardcore band STINKY return with ‘Moonbow,’, a glimpse into their new album
September 15, 2023 Boston’s post-punk disco ensemble DOWNTALKER share new tracks, show with Fiddlehead comin up