
Square One and Turn of Phrase Create Powerful Melodic Hardcore
Pale Skies pairs two of the melodic hardcore’s strongest acts of the past year: Square One and Turn of Phrase.

Pale Skies pairs two of the melodic hardcore’s strongest acts of the past year: Square One and Turn of Phrase.

Gouge Away’s “Figurine” is perhaps even a little prettier in the verses than the highlights of Deep Sage.

If Love Is Not Enough announces anything, it’s a return to the stark architecture and the blunt-force grammar Converge helped codify.

The Depraved did something unusual after two albums: expanded their sound to include more overt 1960s influences, and changed their name to Visions of Change.

Dead Kennedys’ Frankenchrist is a full-scale assault on Reagan’s America–the hypocrisy, seedy undercurrent beneath the slogans, and institutional racism.

The best punk ranges from pop-leaning emo to potent noise, shoegaze, and hardcore to Revolution Summer-inspired politically minded blasts of righteous anger.

If you loved Militarie Gun’s previous work, you will be singing along after a few listens this time, too. It’s an excellent, aggressive indie record with genuine heart.

Deaf Club’s Justin Pearson, legendary frontperson of hardcore’s the Locust, reflects on the state of the world and permanently courting controversy.

Detroit punk veterans Big Life channel the righteous fury of classic Washington DC and SST hardcore on their latest. It’s one of the best punk records this year.

Deadguy’s new LP sounds like a demolition derby locked inside a meat locker, and someone wired the walls. The record feels brilliantly averse to compromise.

Turnstile’s Never Enough lies somewhere between the working man’s folk-rock earnestness of the bygone SoCal era and the synth-washed ambience of the cover.

On Are We All Angels, Scowl seamlessly weave in alternative rock influences on a crossover-ready set of melodic hardcore bangers.