Search Results for "Post-Hardcore"

Skywalker (Post-Hardcore) stream “Blood” from upcoming EP “Sugar House”

Skywalker are streaming a teaser track from their upcoming album “Sugar House”. The song is called “Blood” and you can check it out below.

“Sugar House” will be released on September 1st; you can pre-order your copy here.

The band will also be starting their European tour in September. You can find a list of dates below.



In Good Nature release video for “Vacant”

Massachusetts post-hardcore act In Good Nature have released a video for “Vacant”, a track from upcoming Anchor Eighty Four Records released EP “The Words We’ll Never Say”. The EP is out August 25th, with pre-orders up now.

You can watch the video below.



Petrol Girls (punk) release music video for “Fang”

The UK’s Petrol Girls have released a music video for their track “Fang” off their latest album, Talk Of Violence, and you can check it out below.

Talk Of Violence was released in November, 2017.



Album Review: Hundredth – “Rare”

Nothing strikes fear into a fan’s heart more than an announcement that a band has decided to rip apart their sound and start again. Sure, we expect a band to grow, to develop and to experiment but all within the relative confines of their signature style. However, when a band decides to recast themselves altogether, results can be mixed to say the least. Not only are the band challenging themselves, but they also have to brace themselves for the inevitable backlash from their fans. Some people will never forgive AFI for changing from the punk roots of “Answer That And Stay Fashionable” or the way Yellowcard went in a more pop-punk direction on the “Still Standing” EP. Even more popular bands that just about fall under the punk remit like Fall Out Boy and Paramore are, now, totally unrecognizable to the bands they started out as, which has been ‘divisive’ to say the least. Therefore, it is not without some degree of trepidation to learn that Hundredth have embarked on a whole new direction on their fourth record “Rare”.

Understandably, the band felt they had taken their hardcore sound as far as they could after 2015’s “Free”. Rather than split up, the band sought to metamorphosis into something different altogether. “Rare” sees the band totally dismantle their hardcore sound, leaving only the faintest of residue behind. The result is a dark, shoegaze album replete with sheets of distorted guitars and echoing, often ghostly, vocals. It is an admirable attempt at transformation and one that is, on the whole, pulled off with aplomb.

This is not a toe dipped tentatively in the water either. Hundreth have climbed to the top diving board and hurled themselves wholeheartedly into their new sound. Nothing contrived or fake here. From the The Cure-esque bassline and the layers of distorted guitar on opening song “Vertigo”, it’s clear that the band have buried any remnants of the band they were. It’s still a hard-edged, heavy track but the way the band have adopted a dark, brooding tone creates a far darker, almost oppressive soundscape. The creeping, echoing vocals from frontman Chadwick Johnson add to the air of claustrophobia giving the whole thing it’s own definite, downbeat character. As on the majority of the album they float rather than howl, dripping with ominous menace.  This is something that continues throughout the album. “Neurotic” adds bruising drums and a heavier break-down but it’s hardcore seen through the prism of 80s post punk and 90s shoegaze rather than approaching anything as crushing as heard on previous albums. “White Squall” again wears it’s 80s goth influences on it’s sleeve, starting out as a mid-tempo rocker before soon giving way to a resounding, panoramic chorus.

Thankfully, the band still know how to write urgent, insistent, heavy songs with “Hole” and “Disarray” providing a bit more bone and muscle. “Disarray” in particular hits hard with the band whipping up a discordant wall of noise as Johnson’s haunting voice echoes the line “control is a delusion/the walls are gonna cave”. At other points on the album, the band lock into a more shoegazzy groove with songs such as “Grey” and “Shy Vein” mirroring Catherine Wheel’s ability to sound aggressive over woozy, shimmery shoegaze guitars. The mid-tempo songs give the album real depth and substance. Initially, they might lack presence but on repeat listens their buzzing volatility becomes ever more exhilarating.

Hundredth’s new direction isn’t going to be for everyone. This, their fourth album, could be by a different band entirely, however, the laudable focus, commitment and sheer guts on show has seen them craft a mesmerizing, darkly beautiful album. There are obvious similarities to bands like Turnover and Nothing but if anything Hundredth’s take on shoegaze is darker, more unsettling, more nightmarish. A challenging album from a band not afraid to challenge themselves.

4/5 Stars



Bands and tour dates announced for Self Help Festival 2017

Details on the 2017 edition of A Day To Remember‘s Self Help Festival have been revealed. It will be stopping in Philadelphia, Detroit, Orlando, and San Bernardino. The lineup will vary each date, with some of the bands including ADTR, Less Than Jake, Streetlight Manifesto, and Rise Against.

All tour dates and their associated lineups can be found below. Tickets are available here.



Introducing VVomen: post-hardcore like early At The Drive-In had a beautiful baby early Hot Water Music

Full disclosure: I pre-ordered VVomen’s debut EP immediately after listening to the three songs they have up on bandcamp. I’m having a hard time pinpointing this band’s exact sound, which is a good thing. Yeah, I said early At the Drive-In and HWM, but there’s something else in there I can’t quite put my finger on. Maybe some Gunmoll? Definitely some light Jawbreaker. I don’t know, and it’s going to drive me nuts.

But really, that doesn’t matter, because this band sounds great. There’s speak/shouting and singing, plenty of melody, and when I think things are mellowing out, they push me down and kick me in the head.

The EP will be released on Friday, July 21st. You can check out the Northern California four-piece’s preview of “Moving On” at bandcamp, and a video for “Cadence and Carousel” below



Jack The Envious (Post-Hardcore) release lyrical video for “Mrs Grim”

British Post Hard-Core Act, Jack The Envious have just released the lyrical video for their song, “Mrs Grim” which is on their EP “In Your Own Way.”

The EP is their second and comes out tomorrow, make sure to check the video out below!



Milked releases video for ‘Goodbye Durango’

Chicago based garage punks Milked have dropped a brand new video for their latest single ‘Goodbye Durango’, a track taken from the band’s recently released debut album. Death On Mars came out on tape via Exploding In Sound and is still available right here.

Check out ‘Goodbye Durango’ with visuals below.



In Good Nature sign to Anchor Eighty Four Records, stream new song

Massachusetts post-hardcore act In Good Nature have signed to Anchor Eighty Four Records.

To celebrate this new partnership, the band is streaming a new song called “Stowaway,” which you can check out below.

There is no word yet on whether this single will be followed up by an EP or full length release, but we’ll be sure to keep you updated!



Music Video: Capstan (post-hardcore) – “Wax Poetic”

Post-hardcore act from the heart of Florida Capstan have premiered a music video for their track “Wax Poetic.” You can watch it below.

“Wax Poetic” is taken from the band’s latest release, the EP Cultural Divide, which was released on July 19, 2016. You can find a stream of the EP in full below the video.



Quicksand announce U.S. tour

Post-hardcore legends Quicksand have announced their first U.S. tour in nearly five years, which will take place in September and October. The dates and locations are below.

After two breakups and one reunion, Quicksand reunited again in 2012 and have since been performing live sporadically. The band has reportedly been working on what will be their first record since 1995’s Manic Compression. We’ll keep you posted as more details on it come to light.



Silverstein stream new song “Lost Positives”

Canadian post-hardcore veterans Silverstein are streaming another new track from their upcoming album Dead Reflection. The song’s called “Lost Positives”, and you can check it out below.

Dead Reflection is set to release on July 14th through Rise Records. It will be the band’s 8th full-length, following 2015’s I Am Alive In Everything I Touch.



Hands Like Houses sign to Hopeless Records, release video for “Drift”

Aussie post hardcore punks Hands Like Houses just signed to Hopeless Records out of Los Angeles, CA and to UNFD in Australia and New Zealand.

In celebration of the addition, the five piece dropped the video for their new single “Drift,” which according to vocalist Trenton Woodley, “Drift is about a momentary lapse in momentum, where everything is still long enough to question where you’re going, where you’ve been and how they are somehow supposed to connect in the middle.

Check out the video below!



A Day To Remember announce summer tour dates

A Day To Remember have announced a tour with support from Moose Blood and Wage War.

You can check out all the dates and locations below.

A Day To Remember last released Bad Vibrations on September 2nd, 2016 via the bands’ own label ADTR Records.



Album Review: Goddamnit – “I’ll Never Be Okay, I’ll Never Be the Same”

In a moment of self reflection, I realized I am the horrendous cliche of a beard punk dude. I’m on the bad side of my twenties, my face is half-covered in fur, and I finally gave in and bought a pair of New Balance’s. So, keep in mind, when you’re reading this review, I’m a man with a fair amount of flannel. This is sorta the stuff I go for. So, when Goddamnit’s I’ll Never Be Okay, I’ll Never Be the Same was pitched to me, it tripped over my most valued inner search engine optimizer– FFO: Hot Water Music.

Well, when you invoke the saviors, how can I say no?

Goddamnit is from Philly, and accordingly, they’re not out of place with all of the associations I have with Pennsylvania punk. Ma Jolie, The Menzingers, Captain, We’re Sinking, Restorations– you know the names. They play melodic punk colored with post-hardcore and emo, intricate arrangements that share the spotlight with the songwriting. Goddamnit has a touch more alt rock in their sound than the others, openly owning up to Foo Fighters’ influence in their press release. The result is a pretty solid sounding album, in the sense that some of those 90s emo sounds can be airy and fleeting. The alt rock grounds the album into something more substantial and a bit chunkier. It’s a difficult balance, because a little too much in the other direction could have drained all the punk from Goddamnit’s veins. For the most part, the balance is struck and I’ll Never Be Okay, I’ll Never Be the Same ends up being one of the better albums of 90s worship I’ve heard in a long time without ever sinking too deep into pantomime.

“Fix Dis” begins with a phone call sound byte that is probably supposed to signal desperation, but doesn’t quite nail an emotion for me, as much as it lampshades a musical trope. But then again, I’ve never been a big fan of that sort of thing. Either way, the song is excellent, a bookmark that opens the page to acts like Quicksand and Sunny Day Real Estate and bridges the gap to modern melodic punk. “Letterbox” is one of my favorite songs on the record, with its clackety-clak drumbeats and guitar-heavy attack. When it gets to the loud riffage in the end, it sweeps you up in energy before succumbing to noise.

When it comes to bellowed choruses and post-hardcore hold-and-release, Goddamnit is at their best. The middle of the album is filled with strong, contemplative jams and big hooks. “Third Time’s a Charm” is the closest they get to any outside the box musical decisions with a couple piano chords, which is a shame because, I’d hate to think that the genre that gave us Fugazi, Shellac, and Quicksand can only grow in the one direction that modern punk has decided to drag it– to unabashed accessibility. But, that’s exactly where I’ll Never Be Okay… takes us, ending the album with an acoustic pop punk song. The most interesting part of “The Message” is the programmed, fuzzed out hip hop beat that opens it; otherwise, it feels like a saccharine call back to the worst of the genre, another “Swing Life Away” to be filed away as a reason to lift the needle early.

Goddamnit succeeds more than they misstep, and if you can handle I’ll Never Be Okay, I’ll Never Be the Same’s dalliances with the sillier traits of their influences, there’s a lot to admire in this release. The pop-acoustic finish and megaphone vocals are easy to glance over when you get into the meat of the album. There are a couple opportunities for editing, but as an album, it largely succeeds when it is played loud and driven toward catharsis on the backs of winding riffs.

3.5/5