Continuing to break the supergroup stigma with some much-appreciated expansion into post-punk, Fake Names continue to be a punk band doing justice by its members’ legacies.
Paramore’s newest return sees them retooling and setting their sights on post-punk, though in their efforts, a few critical dots remain unconnected.
In this Review Round-Up, a selection of debuts yields some extremely promising work from M(h)aol and Regal Cheer, and something a bit more middling from Fencer.
In this Review Round-Up, the return of Zebrahead is arguably the least impactful story, against an excellent debut from Holy Popes, and Flatspot Records’ compilation of new hardcore heavyweights.
Moving into more layered, meditative post-punk brings more out of The Murder Capital than ever before, for a massive step up from previous work.
The former HIM frontman goes it alone for an exceptional goth-pop debut.
The intent is there with even a few cool ideas, but Shaam Larein’s attempts at gothic gloom can sometimes fall short of a successful mark.
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.