In this Review Round-Up, Borders’ rap-metalcore and Doodseskader’s intimidating noise impress on the heavier front, broken up by a brief (but no less strong) post-punk intermission from Deadletter.
Destroying genre boundaries is the name of the game on God Alone.’s debut full-length, in which post-punk and post-rock are contorted and reshaped in dizzying, brilliant fashion.
As their profile continues to rise, Kid Kapichi have lost none of their sharpness or Brit-punk savvy on their second album.
In this Review Round-Up, Spielbergs and THICK really come into their own on their new albums, alongside great deathcore from Spite, and high-end post-punk from LIFE.
In this Review Round-Up, Baby Strange and Social Animals deliver a pair of solid—if unremarkable—albums, dented by a disappointment from Onelinedrawing.
In this Review Round-Up, a collection of EPs are headed off by a lacklustre outing from The Lunar Year, and filled out by promising singer-songwriters Donkey Kid and Léa Sen.
A valiant effort to regain some of their lost edge finds Placebo in an awkward, generally unfruitful middle ground, caught between a somewhat workable course correction and a take on post-punk revivalism that’s lacking a lot.
In this Review Round-Up, there’s some impressive work in the form of albums from Without Waves and Thumper, and an EP from Lazy Queen, while the newest from Trench unfortunately falls short of that mark.
In this Review Round-Up, Author & Punisher and Johnossi tap into darkness through varying styles (and levels of success), while Cold Night For Alligators strive to expand tech-metal, and Home Counties plant their flag in post-punk.
A longer runtime and greater refinement haven’t slowed down Black Country, New Road at all on their second album, as they continue to branch out and explore more experimental avenues in a consistently fascinating way.