Starting in the nineties and still continuing to this day in 2023, it’s safe to say the Riot Grrrl movement isn’t dying out any time soon. New bands such as all-female hardcore punk trio Death Pill continue to emerge from the shadows, and this one has a debut album that’s tough to forget once crawled through unsuspecting ears.
Hailing from Norwich, England, post-hardcore trio Other Half have put out their second album Soft Action (Big Scary Monsters), consolidating their presence in the modern punk scene. It is a record that keeps the adrenaline pumping throughout its fourteen-track run-through and brings solid production to an otherwise disorderly DIY kind of tone. Despite its title, the album is anything but soft.
Any band who knows how to blur the lines between two styles that are normally considered drastically different deserves some praise for that alone, and groups like Lincoln, UK’s Borders continue to push those boundaries. Their sophomore album Bloom Season (Arising Empire) ventures further on their seamless mingling of metalcore and hip-hop, yet there is no shortage of either genre’s core elements. While some tracks may embrace one over the other, the balance is consistent, making for a record easily accessible to a wide range of music fans. Continue reading →
When the title of an album tells a story all on its own (and it’s by a band known for upfront lyricism), you know you’re in for an emotionally moving ride. Melodic hardcore leaders Counterparts protect their respected name with their seventh record, A Eulogy For Those Still Here (Pure Noise Records). As the album title states, each song mourns the loss of someone or something that has yet to pass away or leave. Throughout the record, vocalist Brendan Murphy screams and sings of grief he knows he must prepare himself for.
Any punk fan who has had to suffer through sexism or any form of discrimination knows how cathartic loud, unfiltered music can be. For bands like the UK’s Shooting Daggers, turning that rage into a career is the most effective way to keep their sanity. They appropriately characterize themselves as feminist hardcore punk and queercore, spreading empowering messages that stand against misogyny and abuse with a Riot Grrrl angle. Influenced by G.L.O.S.S., Gel, Turnstile and the like, this trio will give you a mentally productive thirst for thrashing away all your repressed anger and disgust.
After twenty-two years of being one of the most renowned and influential bands in post-hardcore and emo, it would be respectable to take a hiatus and bask in the legacy for a good while. However, Silverstein continues to knock out new material consistently, never wringing dry of inspiration and reinforcing their veteran status. With new album Misery Made Me (UNFD), the hardcore maestros let their creativity flow freely without forcing anything to appease anyone’s expectations – including their own.
In a recent interview on The Break Down with Nath & Johnny, InVisions recounted their desire to make an album detached from trends, with the aim of creating songs that could withstand the test of time. Not only have they achieved a timeless sound with Deadlock (Self-Released) they’ve just as easily created a new classic for hardcore music.
York natives, InVisions are Metal. InVisions are Hardcore. InVisions are outright heavy and they are coming into this year with a blistering sophomore record, Between You & Me (Stay Sick Recordings). While they may possess those familiar tendencies that are all too similar with a host of core bands throughout the scene, they are keeping things consistent with some pleasing tracks along the way—their own way.Continue reading →
For the better part of the past six years, Hull’s Mastiff has been slowly festering in the underbelly of the UK’s underground scene. A handful of demos and 2016’s Wrank set expectations for the band to become mainstays of any grotty pub or club gig you’d care to attend, and Plague (APF Records) continues their trend of spreading as much abject misery as musically possible.Continue reading →
After seven years of relative silence since their debut, the excellently monikered TheMound Builders use the opening minute of their self-titled sophomore album (Failure Records and Tapes) to well and truly set the scene. There’s a triumphant opening chord ringing out, with more than a hint of Volume 4 (Vertigo) about its tone, Ryan Strawsma hits a vintage clanking bass run and the swinging drums come in. By the time Jim Voelz’ raw shouts come in on top, we’re well underway to establishing this is going to be a fun, riffy, High On Fire fuelled uptempo Sludge Metal romp, with all the essential hints of Hardcore to pepper things up.Continue reading →