On Kal Marks’ My Name Is Hell the vocal production is cleaner with the band’s new line-up, capturing the dynamic between Shane’s nonchalant singing and vocal cord-tearing screams.
Taking Back Sunday’s Tell All Your Friends shows emo for what it is: a sonic representation of what it really feels like to be an American teenager.
20 Years Ago the Internet’s Music Community Gave a Boost to …And You Will Know Us By the Trail of Dead
Today, 20 years later, the legacy of Trail of Dead’s Source Tags & Codes has developed as one that’s intertwined with Internet-based music journalism itself.
Perennial’s In the Midnight Hour is what you dial up on your car stereo when you’re looking to cruise with the windows down and scare your fellow drivers into a bit of submission.
Metalcore pioneers Converge unite with Chelsea Wolfe and Cave In’s Stephen Brodsky to craft a brooding work of goth-inflected metal with Bloodmoon: I.
Post-hardcore veterans, Quicksand return with Distant Populations, a brooding album that demonstrates artistic valor and a grounded sense of discipline.
Attic Tapes might be Record of the Year material for those who followed Brainiac back in the day. And it might also be a gem solely for completists.
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.