Fiddlehead’s Between the Richness takes from post-hardcore, punk, and emo and skips the boyish flourishes. Although it could benefit from being longer, it’s precise and vigorous.
Listeners are treated to 12 high-octane songs straddling the ill-defined spaces between punk, post-hardcore, and noise-rock on T-Tops’ Staring at a Static Screen.
The Jesus Lizard’s emotional yet meaningless 1991 album, Goat is full of head-spinning, swinging derangement that still leaves listeners reeling.
Between the Grooves examines lowercase's Kill the Lights, a great marriage of slowcore and post-punk: raw, angry, sullen, and very much alive almost all these years later.
Touché Amoré's Lament doesn't push the band's sound in new directions. Instead, it builds on what the Los Angeles post-hardcore band do so well already.
A heavy feeling of loss pervades Old Man Gloom's new albums as these songs are a way of coping and documenting grief, as well as commemorating how much Caleb Scofield meant to the band.
On their self-titled debut, Human Impact provide a soundtrack for this dislocated moment where both humanity and nature are crying out for relief.
Imagine an orgy scored by rusty industrial equipment blasting New York City noise-rock, something like Unsane, Cop Shoot Cop, or Swans in their wicked primes. That's the noise-rock supergroup, Human Impact.
Lyricist Aaron Weiss of post-punk Christian band mewithoutyou used the F-word in a song and it got banned from radio and the album got pulled from record stores. Meanwhile, his fans ponder his parodying of cultural mores.