REVIEW: To the Grave - Liberation Front [2026]

Artist: To the Grave

Album: Liberation Front

To the Grave are nothing if not overt in their message when it comes to their sixth LP, and, in the spirit of To the Grave’s blunt lyricism and delivery, it seems only fitting not to bury the lede: the band may have, after some experimentation, found their niche. Liberation Front sees the band firmly entrenched in modern deathcore, concise and crushing in an amalgam of eviscerating riffs, lacerating blast beats and pulverizing breakdowns with less of the nu-metallic gimmick and melodic melancholy that have reared their relative heads on the releases since Global Warning. Nothing about Liberation Front is subtle, and all of To the Grave’s cylinders are roaring throughout the entirety of the record—and while To the Grave fully leaning into modern deathcore helps the band more than it harms, Liberation Front is not totally free of the pitfalls that plague many of the genre’s contemporary powerhouses.

To the Grave take the raw and relentless aggression abundant on their breakout release Global Warning and amplify it, dragging it into the modern age throughout Liberation Front. Songs like album-opener “Meat the Humans” instantly sink hooks into the listener’s ears with a frenzied combination of hither-and-to chugging from guitarists Jack Simioni and Nic Webb and rambunctious percussion from Raymond Martin. Martin oscillates between skin-rending blast beats and bouncy, groove-heavy patterns with ease—highlighted on “Torture Porn,” a track which boasts an onslaught of groove-tinted aggression—and leans into more technical drumming at several intervals throughout Liberation Front. Lead single “Eyestalk Ablations” is one such example—call-and-response blasts from Martin kick off the track as Simioni and Webb offer dense, pulverizing chugs that segue into a devastating breakdown just as quickly as they toggle into tremendous, scathing riffs. Here, the trio see tremendous assistance from bassist Matt Clarke, lending a tremendous low end to Martin’s machine-gun kick drum, tethering the more technical and riff-heavy segments from Simioni and Webb to Martin’s dense firmament. Where their dynamic is tight and efficient, it sees little actual change on a track-to-track basis, to a point where by the time the listener hits “The World is a Slaughterhouse,” the band’s tepid foray into a more melancholic and atmospheric sound feels like too little variation coming on a touch too late in the album—especially as a majority of the closer is still spent in more conventional deathcore. This isn’t a huge detractor from Liberation Front—it’s a deathcore album, one should expect to hear deathcore—but the middle part of the record does lull into monotony that makes some tracks feel skippable.

To the Grave have always boasted an impressive vocal complement—with Dane Evans taking the helm in October 2014 and clenching the reigns since with an iron fist. On Liberation Front, Evans continues dominating. Whether its the mid-range roars that soar into screeching squeals on album closer “The World is a Slaughterhouse,” those same squeals on “Calf Slicer” or the hyperspeed candor of “Eyestalk Ablations,” there is no question that Evans is impressive with respect to range, stamina and content. Liberation Front is another installment in To the Grave’s long-documented and pointed pro-vegan, anti-speciesist and pro-environmental protection message—and more than just an additional installment, may in fact be the most direct and aggressive installment yet. Evan’s vocal delivery is nothing if not empowered by the message, with every syllable coming across pointed and envenomated with near-tangible passion. Despite this, To the Grave once more stumble into another conventional pitfall defined by vocal excess. Where Evans is no doubt incredibly talented, some tracks—opening cut “Meat the Humans” and “Limb from Lamb” come to mind—boast an over-the-top utilization of a myriad techniques and styles that comes across as borderline masturbatory. While I’m not sure its enough to earn them an entry into the increasingly populated (and occasionally embarrassing) pool of bands relegated to vocal olympics, I do feel that Evans is at his most effective when relying on the basics, and moments like the wretching gurgle at the end of “Limb from Lamb” only detract from an otherwise supremely eerie and immense breakdown.

Liberation Front is a strong entry in To the Grave’s robust discography that sees the band cutting back on superfluous forays into deathcore offshoots and getting back to the roots in a contemporary, face-lifted fashion. For the most part, it is effective, and its a fun, pulverizing and strong listen. With that said, the middle stretch seems to drag a little save a few highlights and low points—not enough to make the album as a whole a miss, but enough to make the listener flirt with the “next track” button a couple times. At the end of the day, Liberation Front sees To the Grave settle into a well-suited niche and gives them ample space to grow and expand to dominate that space.

7/10

For Fans Of: Whitechapel, Crown Magnetar, Face Yourself, A Night in Texas

By: Connor Welsh

Review: Honey Revenge - Loving and Losing

Artist: Honey Revenge
Album: Loving and Losing
Label: Thriller Records

Life is fleeting and if you blink too fast, you’re bound to miss it. The biggest of life’s lessons, though, are through two mediums: Loving and Losing. When you find out how to love yourself, you begin to find your own self-worth, create healthy boundaries and prepare for what you truly want in a relationship. Through loving others, you find yourself figuring how to navigate another person’s feelings, emotions and actions. Through loss, you begin to realize how much that person meant to you and you find yourself creating reminders to make the most of the memories you create on this earth. Through both of these, though, the most beautiful art can be born. Take Eric Clapton’s “Tears from Heaven” or Frida Kahlo’s powerful 1932 painting, Henry Ford Hospital. Both of these masterpieces were born from immense loss and paint visual and audible pictures of the stages of grief. Then, you have one of the most popular love songs of all time in “That’s Amore” by crooner Dean Martin, along with albums like Vespertine by Bjork, and Hounds of Love by Kate Bush. All of these have a unique way of expressing the feelings of love and loss, conveying the story from the artists eyes or from a concept, born from those emotions. While some of these examples have a light and airy feeling to them, they are meant to paint a picture of what it’s like to be in love — or to feel a great loss. LA’s Honey Revenge has been crafting their sophomore album, Loving and Losing, for a long time and, in the process, has been testing the waters with some of those songs live. For anyone who was at their 2024 headliner of the same name, some of these songs will feel familiar, yet have a new life breathed into them. The writing progressed into late 2025 and early 2026 before it was finalized and became what you hear today. Songs like “Risk,” which was written as a stand-alone single to bridge the gap between Retrovision (Deluxe Edition) and the aforementioned headliner, eventually made the cut. The title track and “Jealousy Monster” also made their debut on that tour but all of these songs have slight changes that make it evident that, while the songs were great in their current form… they were missing something to make them feel complete. Now, the time is here and they’re ready to share the full, 14-track experience with the world. The artwork, seen above, depicts Devin Papadol, draped in constellations created from her birthmarks and purple hues. It’s a reminder that we are all a product of the universe and its experiences.

The album opens up with “Technicolor,” a driving, rock-centric track that immediately grabs the listener’s attention. While there is no official video for this track, I can picture the band fading through different, bright colors throughout this track. It is immediately clear that the songwriting and the instrumentals of this track show a true growth from the previous album and even the deluxe edition tracks. This track is about being lost but finding new love and the obsessive feelings that come along with it. The track, lyrically, compares the sense of being lost in black and white, but color was breathed into life when love was found. It’s bouncy, fun and features some of the most soaring vocals we’ve heard from Devin Papadol yet. Additionally, guitarist Donny Lloyd doesn’t need a flashy solo to prove their talent but their presence in this track is immense without being too overpowering.

The album’s first official single was “Poison Apple Baby.” This was released right before they hit the road with Spiritbox and Periphery in the Fall of 2025. The response to this one has quickly pushed it to a fan-favorite, right up along with “Airhead” and “Rerun.” This song is probably the closest we will ever get to a “metal” song from the band. It’s heavy, gritty and even features a breakdown with a faded out vocal. This is the song that actually got some mosh pits to start for the band, introducing a new audience to their unique sound. This song is about manipulative, self-centered individuals. They will smile in your face and then turn around and stab you in the back, using their looks and popularity to sway popular opinion. They say beauty is only skin deep and this song is a true reminder of that. This remains one of my favorite songs that the duo has released. I’ve left the video for this song below, so be sure to check it out.

“Hot Commodity” has more of a prevalent bassline than any other song on the album. It feels like a theme song for someone walking into a club and getting that “all eyes on me” vibe. This song is about the pressure that musicians feel by the people who only support them, because they have made it. They weren’t in the empty rooms coming up, they weren’t cheering alongside the release of their first single but the moment they began to blow up.. these people “were always there.” It also seems to commentate on parasocialism, which has become more and more prevalent in the age of social media. The way that the track progresses almost feels like it could be straight out of the late 80s or early 90s. 808s and funky guitar licks create a neon landscape that gets brighter with every second.

“Trust Issues,” another major highlight of the album, is about really losing confidence in your own judgement. This song came at a point in Dev’s life where she was wondering if she should even continue with music. It was a period of self-reflection that resulted in a pivotal moment for the album and its themes. While the air of this song feels carefree, the lyrical weight hits harder than one might like to admit. The way this track builds from pseudo-80s synthwave to that contemplative, solo night drive feeling is impressive. The band debuted this song live and I can see it becoming a staple in their set. It’s such a fun song and has a lot of opportunity for the types of fan interaction that the band loves.

I think there if there is any one track that properly conveys the themes and sound of the album, it is that of “Sorry Much.” This track has synths, tambourine, driving guitar rhythms and pop sensibilities. The saying goes “Fool me once, shame on you. Fool me twice, shame on me!” This song conveys that particular sentiment perfectly. It’s about continuing to make excuses and putting up with someone who is constantly proving that they aren’t worth it. It’s about that person (or people) you continue to give second, third, hundredth chances until you have had enough. It expresses the vicious cycle of self-blame within this situation, where you cut ties with the person, return to them, just to have it all happen again. It’s about breaking free from the hold that this person has on you, no matter how much it hurts. The vocal layers and harmonies on this song are among my favorite in their catalog.

‍”Risk” is a track that started off as a stand-alone single but took on a life of its own and was added to the album after all. This song was released prior to the 2024 headline tour, being debuted on that same tour. This track is when we began to feel a new, experimental version of the band where the identity is there… but it’s hidden behind smoke, synth and mirrors. This was also one of Donny’s most memorable guitar solos to date. This song is about taking risks, not being afraid to fall and being true to yourself. It’s about the idea of risk vs reward and the thrill of chasing your dreams.

“Sunday Scaries” is the quintessential Honey Revenge party anthem. This is so early-era Ke$ha coded that it’s evident that it was the direct inspiration for the sound of this particular track. This is about forgetting about all your troubles, drinking your cares away and escaping everything that isn’t being present in that moment. This is one of those songs you could actually hear being played to jam out to at a party, but it has an interesting twist… a semi-breakdown in the bridge? While it may feel out of place, I believe it is meant to convey how heavy the weight of poor choices can be, but overlooking any consequences that may loom ahead.

The weight bears down to its heaviest moment in the title track, “Loving and Losing.” If this track doesn’t bring a tear to your eyes, there’s no way that you’re human. This track made its debut during the 2024 tour and got everyone in that packed house sobbing. This track, as Devin describes it, is about the emotions she went through when she lost her father. A song was always promised to him but this is not the song that was intended, just the one that came out in the moment. This song is a not-so-subtle reminder to hold your loved ones tight and make sure that you make the best of the memories you create. This track is a no-frills, acoustic track that really drives home the idea that life is short —and to make the most of it. The part that might be the most moving, though, is the voicemail from Dev’s father that is at the end. He tells her how proud he is of her, he loves her and he wants her to keep writing music.

Loving and Losing deals with a lot of heaviness, not in terms of musicality but in the themes it conveys. This is a band who had to learn to trust themselves again, trust each other and lean on each other in the toughest of times. What persists is that they have a clear-defined identity that they will continue to evolve when necessary. It’s no coincidence that the band name, Honey Revenge, fits perfectly. It is a pure idea of what you can expect from the band. Moreover, though, this album is a clear-cut representation of who they are both in this moment and what they present to the future. What’s next for this band can only be speculated but it’s clear that the future is as technicolor as the neon spotlights that they will find themselves in. Catch them on tour this fall with Dead Poet Society and support from Hunny and labelmates Broadside. This is sure to be a tour to remember, so get those tickets by clicking the flyer below! Loving and Losing is out now on Thriller Records and can be streamed/purchased using the links below!

REVIEW: Crown Magnetar - The Hollowing of Godflesh [2026]

Artist: Crown Magnetar

Album: The Hollowing of Godflesh

Within the deathcore space, revivalism—specifically that of the MySpace sound/era—has become all the rage. Growing in popularity since its uptick in 2021 from a murmur to a deafening tidal wave of new acts, deathcore revival acts and their corollary popularity have nearly overshadowed the genre’s “modern” cohort. This is partially self-inflicted—a combination of nostalgia and reversion to more provocative, violent writing makes many of the more contemporary artists within the deathcore space feel tame to a point where it’s worth questioning if they were ever really deathcore at all. With all that said, there are a subset of modern deathcore acts that continued to create intense and exciting deathcore without reverting to 2008, primarily by channeling the same influences as old-school deathcore acts more than channeling influence from other, contemporary deathcore bands—and Crown Magnetar is chief among them. Creating harsh, immolating technical deathcore that leans heavily on brutal death metal and tech-death to impart breakdown-studded, skin-rending misanthropy into the listener. On The Hollowing of Godflesh, Crown Magnetar do this better than, perhaps, any of their prior releases to date. Dense, devastating and without even a modicum of filler, The Hollowing of Godflesh is a marvelously intense and brutalizing record that sees a strong band within the deathcore niche at their strongest.

Two words one might use to describe The Hollowing of Godflesh are—among others—fast and pissed. If this is your first experience with Crown Magnetar, you’ll figure out what they’re all about within the opening salvos of “Gun Eater,” and if you’re already familiar with their game, then it should come as no surprise that they launch out of the gate hot. A murky, muddy slam riff churns over nightmarish percussion—a pattern that slowly decays into a mountain-leveling breakdown one step at a time. While a sound introduction to just how heavy Crown Magnetar can be, other songs—personal favorite “The Hollowing of Godflesh” and another strong entry “Torture Engine” highlight the dialectic the band uses by juxtaposing mind-numbing speed with back-breaking brutality. Here, drums by Byron London (and played live by Nithing’s Matt Kilner) continue to shine just as they have on Crown Magnetar’s The Codex of Flesh, Everything Bleeds and more. Guitarist Rob Maramonte and bassist Mike Sahm absolutely obliterate, and considering Maramonte’s previous stints in Fallujah and The Zenith Passage, it should come as no surprise that riffs on “Godkiller” and “Domination” do…well, just that; dominate. A miasma of raunchy, murderous grooves and riffs segue into spine-crushing breakdowns and slams without hesitation or remorse on…well, just about every song on Crown Magnetar’s third LP with enough voracity to be consistently devastating but enough fluidity and dynamism to ensure that each song maintains its own sonic identity.

While Crown Magnetar are an instrumental juggernaut—especially with Maramonte behind the fretboard and the addition of Kilner for live percussion—frontman Dan Tucker has demonstrated time and time again that he’s no slouch, and The Hollowing of Godflesh continues to hammer that point home. In some ways, Tucker is up to his usual (and welcome) tricks on the new record; telltale, bitterly spat profanities on “Gun Eater” snap the listener back to their 2023 cut “The Killing Stone” or lyrics like “decapitate your God and piss in the neck hole” seem practically made for bold impact font T-shirt back print (and they are, if you check the merch store). In other ways, Tucker’s range, dynamism and intensity seem stepped up another level from their 2025 EP—abundant on “Godkiller” and “Desecrate Infinite” among other intense and visceral cuts from Godflesh. Where Tucker shines above and beyond his already exemplary prior performances, however, is once more where Crown Magnetar differentiate themselves from most contemporary deathcore bands—by leaning more heavily into brutal death metal and slam territory. Even with much of “Domination” feeling like a faster-paced, groove-heavy cut that even encroaches on death-djent territory at times (a la “Dead Season”), the ending feels as though it wouldn’t be out of place from the likes of Dying Fetus—something very few vocalists (and bands) can do convincingly. All in all, Tucker’s prowess throughout The Hollowing of Godflesh can be summarized in that it takes everything he has excelled at from The Prophet of Disgust onwards and kicks everything up several notches, seeing him do everything he’s previously done well done to practical perfection.

Throughout The Hollowing of Godflesh, relentless and pulverizing technicality shreds the listener as though they were steeped head-first into a running wood chipper—and I doubt Crown Magnetar would have it any other way. Drawing influence from brutal death metal, technical death metal and hardcore in the same way that deathcore’s progenitors did, Crown Magnetar demonstrate there is still appeal to the genre’s modern iteration. The band’s third LP is far and away the most refined and distilled—sharpened and honed—version of the band, and serves as a high bar for which only previous few other deathcore releases from 2026 can compete with, making it a must-listen for anyone with even a passive interest in the genre.

9.5/10

For Fans Of: Whitechapel, Despised Icon, Defeated Sanity, Dying Fetus, PSYCHO-FRAME

By: Connor Welsh

Review: lolitslea - Rollercoaster Tycoon

Artist: lolitslea
Album: Rollercoaster Tycoon
Label: Independent

Life is a rollercoaster. It has its ups and downs —some of which are far more intense than others. At the end, though, it is the ride that makes it worth it. As a gamer, I have always been intrigued when artists make direct references to video games. That interest is piqued even higher when they build an entire album around the theme of a video game. What game makes more sense, lyrically, than Rollercoaster Tycoon and NJ based neon pop artist, lolitslea takes that idea to a new level in her new album, named after the game itself. The album is, as the title suggests, a rollercoaster of emotions, life experiences and overall conveys the exact nostalgic feeling it is meant to convey.
Meant to feel exactly like its namesake video game, this is a pure early 2000s pop-punk kid’s wildest dream. Every moment of the album is made to feel like it could fit right into the game itself. It’s the type of album that doesn’t take itself too seriously, while still conveying a strong, meaningful message. That message? Simple: Growing up is an inevitability but the experiences that shape who you are, make the ride more worth it than you know. The sound that she crafts is both nostalgic, yet fresh and stands as a testament to the songwriting abilities between her and her collaborators. No stranger to collaboration, this one includes songwriting credits from Cassadee Pope (Hey Monday) and Tony Pietrafesa (Avowed Productions) There is a certain confidence that she exudes through every line, which just simply isn’t found much in this scene.

The opening track, “Main Menu” sounds like it comes straight out of SSX Tricky. The looped drum beats, electronics and heavy distortion make it feel as if you’re truly sitting in front of a CRT screen, about to click that “start” button.

Enter “Wish I’d Known,” the first real dose of the pure talent that she possesses. The track is all about leaving the familiar to chase her dreams and try and take the spotlight. In the wake of the aftermath, she’s left relationships, friends and an entire life in a single night. A clean, electric guitar intro underlies a soft, emotional vocal to begin the track, before kicking into some 808s, injecting a little bit of a hip-hop flare into the track. Suddenly, you’re overtaken by a huge, soaring vocal in the chorus that is instantly stuck in your head. Ultimately, this track is all about not being afraid to live out your dreams, but being aware of the sacrifices you’ll have to make to get to where you want to be. The vocal harmonies on this track are beautiful and, even on their own, stand out from much of what you may hear in the genre. It’s catchy, infectious and definitely gets the listener’s body moving.

My introduction, and still one of my favorite moments on the album, was with “BURNOUT!! BURNOUT!!” This track is a bit faster-paced and quite honestly feels like it would be at home on the THPS2 soundtrack. The vibe on this one is a bit more aggressive, both instrumentally and lyrically. Where “Wish I’d Known” is an amalgamation of the choice and consequences of chasing your dreams, “BURNOUT!! BURNOUT!!” is about how exhausting the journey can be. There’s so much pressure on artists to put out music that is worthy of the public opinion, all while battling inner demons and the emotions that come with trying to keep up. The weight of the scheduling conflicts, the fear of letting fans down, of speaking too loud or saying the wrong thing is all enough to make one’s head explode. I think this song, while not as hooky, really does a great job of conveying that emotion. There’s even an interesting growled vocal at the very end, which feels like a heavy sigh.

“He’s a God (Complex)” is probably going to be the most sleeper hit of the album. It’s a fun, lovestruck anthem about what it’s like to be in love with the man of your teenage dreams. That tattooed, swoopy hair, emo badass that you never thought would be attracted to you. This track is bouncy and has a similar pacing to the previously mentioned, “BURNOUT!! BURNOUT!!” but on a different emotional level. This is a song that doesn’t take itself too seriously… it’s just a girl in love, expressing what it’s like to be in love and the disbelief that comes with this man loving her back. She can see the red flags but clearly ignores them because… as she says “he’s got the hots for me!”

Then, you have the opposite side of the coin in “i hate sugar!!!” This one feels more like a traditional, mid 00s pop-punk anthem. This is the type of track to take a long, contemplative drive with the windows down and the volume up. This is where the red flags begin to kick in and there begins to be some second guessing, compared to the feeling of how sugar tastes so sweet, but is ultimately bad for you. This track begins to explore the inevitable downfall of the relationship and the emotions that are coming with it. There is a desire to show this person off to everyone, even knowing that they won’t approve and you know you will need to defend yourself over him.

Have you ever sat alone in a room, after an amazing date… but have the realization that it was all a result of a clouded state of mind? Deep down, you realize you want something true and something that is lasting. This is where the depression kicks in and the acoustic-led, ballad-like track “Outside of My Window” comes in. This is a beautiful track that explores the melancholy feeling of wanting someone for the rest of your life and not just for a night. There is something that can be said for the way this track builds to the final chorus, which explodes in a way that you wouldn’t expect. This track gives me the same type of goosebumps that “You Be the Anchor…” by Mayday Parade does. It has a beautiful build, break and crescendo before it settles off at the end.

I think one of the coolest things about this album is “Sleep Over” and the dichotomy between lolitslea and featured artist K Enagonio (Red Jumpsuit Apparatus/Matriarchs). While K does what K does best and screams their heart out, lolitslea creates that infectious, pop sensibility that has weaved itself throughout the proverbial code that makes up this album. The melody from “Main Menu” is reprised throughout this track, which creates a great atmosphere for the track. There is a heavier tone to this song, but not in the way you’d expect it to be. This track continues to explore the guilt of a “Sleep Over,” when feelings have developed. I’ve always been a fan of Enagonio but I think one of their best displays is within this collaboration.

Think of Rollercoaster Tycoon as the soundtrack to life itself. It’s full of emotion, chaos and whimsy but every single track is a life lesson and an experience reflected on. This is an honest representation of lolitslea as an artist, good, bad and ugly. Life isn’t meant to be easy… it’s meant to test you and cause you to grow through the trials that it throws your way. Think about what it feels like as a true gamer and ask yourself: Do you often play on “easy” mode or would you rather test yourself and show that you can play through on “expert.” That’s what I thought… now do yourself a favor and go listen to Rollercoaster Tycoon, out today! Support independent music!

Review: Stories Through Storms Cry “Set Me Free” With Anthemic New Single

When a snake bites, it releases venom which is slow-acting but creates a lasting and, at times, fatal effect. The same can be said for a toxic relationship, where one person is always playing the victim. The narrative is that one is the villain, but yet they run back at the first sign of trouble. They wear a mask but always throw themselves at the feet of the other person. The venom seeps into the blood, pouring through the rest of the body until you feel like you’re sick and dying. On the relationship front, it’s the exhaustion of the push and pull that is always present in these situations… until someone stands up and says they’ve had enough. The love remains but feels less a blessing and more a curse. How much can you take? It’s time that someone stood up and conveyed what that feeling is like and remind those out there who relate… it’s never too late and that you can push through to the end. Stories Through Storms have weaved a tale of betrayal, heartbreak and “heartsick” with their latest single, “Set Me Free.”

This song is a good mixture of the more aggressive, yet melodic side of the band. The opening riff screams nu-metal vibes but it fades beautifully into the first verse. When the drums kick in and you hear the orchestral arrangement in the background, you can instantly begin to feel the gravity of this track. The full band truly kicks in with the first chorus, complete with background screams. When the second verse kicks in, it almost feels like a whole new song. While the same effect underlies the verse itself, the song gains a darker tone and the anger felt within the lyrics is conveyed throughout the instrumental. This is a time where I can truly say that the band, as a whole, shine more as a unit than individually. While there are some powerful displays of talent here, the cohesiveness of this band cannot be understated. It doesn’t seem like any one member is trying to outshine the other, or even stand out… but they have their moments where they do and I think that’s an impressive feat in any band — especially today.

For a band who has been through hell and back, they sure have built one hell of a resurrection story through it all. Stories Through Storms are on an upward trajectory and songs like “Set Me Free,” “Fade,” “Make Us Famous” and even the more aggressive “Dogbreath” are a testament to the versatility that these guys have. Creating masterpieces from unfortunate circumstances is something that every iteration of this band has excelled at… but none more than now. Keep your eyes on Stories Through Storms because they’re only getting started! You can check out the official lyric video for “Set Me Free” below! The band will be back on the road in 2027, so keep your eyes peeled for some tour announcements in the future.

Stories Through Storms is:
Storm Ruby - Vocals
Anthony Estes - Guitar
Timmy Taylor - Guitar
Christian Kwitkowski - Bass
Chris Kassien - Drums

REVIEW: Girl of Glass - Some Words Were Never Enough [2026]

Artist: Girl of Glass

Album: Some Words Were Never Enough

It does feel like—for the last year or so maybe—I’ve been starting just about every review for a deathcore project with an opinion about the MySpace revival. Granted, the last year or so has brought the entire “movement” to a fever pitch, with no end to the resurgence of early 2000s deathcore repurposed and injected into modernity—often to relative success. In the context of the MySpace revival, one has to consider Girl of Glass as one of the most authentic and pragmatic artists in the resurgence. Created less as a reason to repurpose Suicide Silence The Cleansing-era breakdowns (though the namesake and comparisons aren’t for nothing) and more as a stark, true example of hardcore, DIY ethos meeting head-on with pummeling death metal brutality, Girl of Glass are a “revival” band not to chase nostalgia but rather by virtue of the type of deathcore they make and the means by which they deliver it to the masses—and Some Words Were Never Enough is the proof. Featuring a whirlwind of vicious riffs and pulverizing breakdowns across eight songs, Some Words Were Never Enough is an outstanding example of the only passable type of revivalism—the type where old-school and traditional sounds, styles and ethos are rejuvenated and continued in a contemporary sound space.

Rooted in the elements that made Despised Icon, Suicide Silence, Oceano and more massive underground successes with their debut material, Girl of Glass’ Some Words Were Never Enough is an instrumental juggernaut that expertly blends elements of death metal and hardcore to make strong, authentic deathcore. While introductory cut “This is the Tragedy” and “MoreKnifeThanBack” are crushing by virtue of tremendous, ten-ton breakdowns, songs like lead single “Third Knives the Charm” and “Another Day Another Knife” see Girl of Glass take a riff-heavy approach to visceral and relentless deathcore, blending fun and bouncy riffs with two-step segments bound to ignite dance floors nationwide. “Another Day Another Knife” is perhaps among the best examples of this—a track that starts and ends with gargantuan, heavy-handed breakdowns that rapidly segues into an immolating riff propelled by quick, tight blast beats and a rollicking, crunchy bass tone. This instrumental dynamism is nothing new—as tracks like “Heart Upon Stone” and “Son Devouring His Saturn” exemplified the band’s instrumental prowess well on their debut EP, but are revisited and updated on Some Words Were Never Enough. Despite these songs being somewhere between two and three years old at this juncture, the rejuvenated versions fit seamlessly alongside the outfit’s newer songs, hitting just as hard—if not harder—than ever, and serve as a seamless transition into the second and more current half of Some Words Were Never Enough.

Where Girl of Glass separate themselves the most from many of their contemporaries is with their vocal element—and perhaps more precisely, their lyrical content. Combining bitterness, anguish and an unsatisfied thirst for violence with more complex emotions akin to yearning, grief and self-hatred, Some Words Were Never Enough draw comparisons outside of the usual “Big Four” of MySpace Revival—We Are the End, Animosity and Needlework/Gallows-era Emmure come to mind. This comparison becomes obvious on “Son Devouring His Saturn,” featuring We Are the End’s Spencer Aragon, but also rears its head on the moments within “Another Day Another Knife” and “MoreKnifeThanBack” where primal bloodlust cracks and elements of something deeper and more introspective seep through and into the listener’s ears. Not only this, but listeners get one of the first deathcore straight-edge anthems I can think of since The World We Knew’s “The Write Off” on “xEND OF DAYSx (Where’s Nick Stacy?),” a song that has been circulating for some time as a demo B-side but now reaps the benefit of a fully-produced album appearance. In short, Some Words Were Never Enough is a vocal powerhouse with more than meets the eyes from a lyrical perspective—an album superficially focused on knives, stabbing and outright violence ultimately stands out as more than one cut above the standard lyrical fare offered from most contemporary deathcore projects.

Independent of buzzwords like revival, MySpace, “OG,” and more, Girl of Glass’ Some Words Were Never Enough is an outstanding example of the traditional death-metal-brutality-meets-hardcore-ethos that allowed deathcore to thrive 20+ years ago. Frantic riffs, lacerating blast beats, ground-shattering breakdowns and leviathan vocals all done earnestly and intensely give listeners what stands as a shining example to what “revival” deathcore can truly be. This is compounded by some other smart decisions; the perhaps too-minimalistic approach from their debut EP is updated just enough to make it feel less abrasive without losing its raw character, and the strategic inclusion of revitalized iterations of songs from their debut adds material that may not be new, but all the while feels new. In short, Girl of Glass are an outstanding force driving for earnest, aggressive, and real deathcore—something that is abundantly clear through Some Words Were Never Enough.

9.5/10

For Fans Of: KatyWentMissing, PSYCHO-FRAME, We Are the End, Suicide Silence

Connor Welsh

REVIEW: Killing of a sacred deer - encephalic angels [2026]

Artist: Killing of a Sacred Deer

Album: Encephalic Angels

Something I hear a lot of while working in the medical field—especially in the operating room—are the well intentioned jokes from patients and providers alike about deep sedation. “Oh man,” someone will say. “I can’t wait for this, I haven’t slept well in months!” And yeah, it’s funny and a relatively healthy way to cope with having to undergo a daunting surgery or otherwise being in the face of severe illness, but the evidence we have suggests the “rest” gained from deep sedation or pharmacologic coma is anything but restful. Over 80% of one patient population polled in a study reported severe vivid, traumatic dreams more akin to a hostile hallucination than anything else. In over half of those who were sedated for longer than 24 hours, reports of persistent traumatic and unusually vivid dreams were common, sometimes lasting days to weeks. I open with this because the visual and auditory experience of Killing of a Sacred Deer’s Encephalic Angels is what I imagine those dreams must have looked and sounded like. Bizarre and unsettling artwork serves as the jumping-off point for 23 minutes of spastic, jarring and visceral brutality. Following hot on the heels of A Visage of a Mangled Body and Killing of a Sacred Deer, the band’s sophomore LP features a slew of riffs, percussion, breakdowns and vocal patterns that can be perhaps best described as psychotic—but this isn’t really new for Killing of a Sacred Deer. What is new? A refined and more thorough and thought-out approach to songwriting, making Encephalic Angels the band’s most fluid record yet without skimping on the skull-splitting insanity.

From the moment the haunting sample at the beginning of “A Congealed Miasma” segues into bruising, pummeling percussion and frantic fretwork through the final crushing chugs of “12.7mm from Death,” Killing of a Sacred Deer steep the listener in near-tangible levels of frenzied intensity. The front half of the album is stacked high with classic Sacred Deer antics, but raised to a new standard. “A Congealed Miasma” and “Of Melded Flesh” continue the same schizophrenic salvo of off-the-wall riffs and breakdowns chunky enough to qualify for a GLP-1. Where the approach to glitchy, spastic deathcore remains the same, there exists a greater degree of nuance and fluidity, especially on the aforementioned songs and “Cerebral Data Extraction.” Here, rather than an arrangement of insane riffs and immolating breakdowns designed to hit as hard and as fast as possible, each song bears more structure and form, feeling deliberate and intentional at every turn. “Cerebral Data Extraction” is perhaps the best example of this, where the shorter cuts like “..you will know them by their eyes” and “TERRORPHAGE” are a break-slew of all-you-can-handle heaviness. As Encephalic Angels continues, the listener is thrust into new territory for Killing of a Sacred Deer in the form of “Cognitive Reconfiguration Procedure”—a more ethereal and bleak cut that mashes mach-speed percussion into dissonant guitar and bass punctuated with the altogether rare segue into gargantuan breakdown. Lead single and title track “Encephalic Angels” follows this trend—not necessarily towards ethereality but towards new ground for the rollicking deathcore outfit. Here, the breakneck transitions and glitchy guitar work are stepped up tenfold, with a stronger and more direct lean into hardcore and metalcore territories over the more usual deathcore fare. This is only transient, however, as the album is capped off by “12.7mm from Death,” an earnest and dripping slab of deathcore that feels as rooted in the PSYCHO-FRAME universe as it does the Killing of a Sacred Deer-verse.

If the instrumentation throughout Encephalic Angels is psychotic, then the vocal element throughout the release is doubly so. Colter Cuthbertson continues to highlight his outstanding dynamism and energy throughout the entirety of Killing of a Sacred Deer’s latest installment, this time accompanied by several outstanding guest vocalist, each of whom add something incredible to the experience that is Encephalic Angels. Nick Chance (Beautiful Child of God, Distinguisher) dominates through his contributions on “Of Melded Flesh,” where Mike Sugars (PSYCHO-FRAME, Church Tongue, Vatican) ups the ante on Frame worship on “12.7mm from Death,” not to mention the fromjoy infusion on the record’s cybernetic lead single. While these features are all stand-outs and do exactly what a vocal feature should do on a song, Cuthbertson’s performance throughout Encephalic Angels is immense to a point where the guest appearances are truly just icing on an already stacked cake. Frenzied screams and shouts throughout “Cerebral Data Extraction” hook into the listener’s ears with razor-sharp barbs, while pained, dismal screams make “Cognitive Reconfiguration Procedure” the unique track that it is.

On one hand, Encephalic Angels is definitely a Killing of a Sacred Deer record in that it packs all the fare one has come to expect and adore from the band. ADHD-tinted segues from spazzy fretwork to crushing breakdowns, samples aplenty, unsettling visual imagery and top-notch production all appear in spades. On the other, Killing of a Sacred Deer have undergone some refinement. Where previous efforts feel disjointed and thrive in chaos, Encephalic Angels feels more intentional and fluid at every turn—and has a longer average track length by almost a half minute, and who can be mad at more material from one of deathcore’s most prolific and inventive newcomers? Encephalic Angels is not just Killing of a Sacred Deer’s best album in terms of structure, but in terms of sheer content, as it boasts what I’d consider to be at least three of their five bests songs—but what’s more? Encephalic Angels stands as a frontrunner for the best deathcore release (and overall release) of 2026.

9.5/10

For Fans Of: PSYCHO-FRAME, Serration, Chamber, Beneath the Massacre, Fromjoy

By: Connor Welsh

REVIEW: A Night in Texas - The Darkest side of Humanity [2026]

Artist: A Night in Texas

Album: The Darkest Side of Humanity

Without beating around the bush or pontificating superfluously, The Darkest Side of Humanity is nothing if not an incredibly timely record with respect to its name. Every day, things seem worse—the news stories grow more bleak and apocalyptic scenarios feel less like impossibilities and more like wishful thinking. In the same vein, the 2026 LP from A Night in Texas and the follow up to Digital Apocalypse expertly channels bleak, dismal anguish into lacerating, technical the pummeling deathcore. Crafted on a firmament of break-neck percussion and humbling intricacy, The Darkest Side of Humanity sees the Australian deathcore juggernaut refine the successes of Digital Apocalypse while avoiding many of the record’s missteps—but as the latest entry in a long and vicissitudinary discography, where does it land among the band’s ups and downs?

Those who have followed A Night in Texas’ career since Invigoration or The God Delusion are no doubt accustomed to their instrumental stylings: blisteringly fast and immolating in their intensity. The Darkest Side of Humanity is no different—at least for the majority of its runtime. Songs like “Metastatic Misery” and “Rot from Within” hinge on mach-speed drumming and frantic riffing, highlighting the Promethean nature of the band’s drumming and composition. “Fed to Death” is another cut that practically waterboards the listener without outright speed and voracity with a crass juxtaposition of mind-melting speed and bone-busting, garish brutality. “The Infinite Maw” is another song that works tirelessly to blend segments of surreal speed into portions of pummeling and outright heaviness, using explosive breakdowns to punctuate languishing segments driven by mile-per-minute blast beats and dizzying fretwork. Other songs—like segments of the album’s title track, and the sonic intermission “When the Sun Burns Out” see A Night in Texas embracing ethereality and atmosphere more than they have previously, channeling more robust and melodramatic crescendos of post-metal infused deathcore a la Fit for an Autopsy. While these segments serve well to break up the onslaught that is The Darkest Side of Humanity, they also overstay their welcome slightly—especially on “When the Sun Burns Out,” a song that strays dangerously close to monotony. What’s more is that on more than one occasion, the often-tasteful use of sparse backing samples and subtle symphonic elements becomes a little more than sparse, and detracts from the otherwise dense and technically immaculate instrumental onslaught the band bring to the table. While those brief flashes of horns and strings fit excellently on cuts like “Oblivion’s Dominion” and “A Primal Conditioning,” they feel a little too overbearing on otherwise sound songs like “Fed to Death.”

Just as the band’s instrumental efforts are gargantuan, so to are their vocal elements. Harshly spat, visceral shrieks serve as the mainstay throughout The Darkest Side of Humanity, though the variation between shrill screams, raw mid range yells and gurgling low bellows is enough to satiate just about any fan of extreme metal. This variety is aided by the sparse-but-impactful guest appearances throughout The Darkest Side of Humanity—especially a guest appearance by Rheese Peters, one of the band’s former vocalists. While much of the vocal work on The Darkest Side of Humanity is strong, it isn’t without room for critique. Some songs—“Fed to Death” and “The Infinite Maw” in particular—overstep the boundary from engaging vocal diversity into pure vocal masturbation. In the opposite direction, “When the Sun Burns Out” is home to its fair share of singing, and while I’m far from getting on a “singing is bad” soapbox, it does feel a little out of place in the context of an otherwise hyperspeed slab of technical deathcore. For some, this is welcome—but for others, it feels like a slight detraction from the otherwise tasteful employ of several different vocal styles and ranges to create an otherwise fluid and engaging listening experience.

The Darkest Side of Humanity is a strong record—frankly, stronger than several of A Night in Texas’ previous full length releases and likely their most well-rounded since at least Global Slaughter if not The God Delusion. In spite of this, some elements seem to blur the line between tasteful and out of place, be it the occasional overuse of background samples, segments fit for submission into the YouTube Vocal Olympics or perhaps slowing things down a touch too much. These don’t make The Darkest Side of Humanity a bad record by any means—just give A Night in Texas a little more room to continue to refine their sound and style.

7/10

For Fans Of: Nexilva, Shadow of Intent, Crown Magnetar, Lorna Shore

By: Connor Welsh

Stvrdust Confront the Difficulty of Choosing Yourself with It Comes In Waves

Ethereal metalcore project, STVRDUST, has released their second single, “It Comes in Waves.” This track is a brutally beautiful take on grief, but not in the way you expect. It is about the grief experienced when doing the right thing for yourself, no matter how much it hurts. This song differs in many ways from the debut single, “Dreamscape.” For starters, this song feels a bit more atmospheric and fills a larger space musically because of its composition. Drew Carlson's voice cracks in parts, exposing the true emotion behind the track. Musically, the track shares similarities to “Dreamscape,” rooted deep within the essence of early 2000s metalcore. This track also has a very brief clean vocal section, which is the first we've heard from Carlson within this project. He does well at building a progression from a mid range to a higher register and holding an impossibly high note for the genre. Overall, this track does an incredible job conveying the message the emotion of the contained themes. Stay tuned for more in the near future!

Below is a statement from instrumentalist John Lamere:

“It Comes in Waves” was written for the sole purpose of processing the kind of grief rarely talked about, the one that comes with doing what is right for yourself, even when it costs something you truly want and love. Choosing yourself is never easy.

Patient Sixty-Seven Signs to SBG Records

Australian metalcore group, Patient Sixty-Seven, has signed with SBG Records and released their first new single in over a year. The introspective, “A Stitch in Time Saves None” features Telle Smith (The Word Alive) and is one of the most personal tracks that vocalist Tom Kiely has ever penned. This serves as the first taste of the band's upcoming album, set for release in 2027 and has everything fans have come to love, expect and some surprises. Its power-packed with emotion and is a testament to how far this band has come. Be sure to check it out and, given that this is a US label… we might finally see them here in the States! Read a statement from Kiely below:

Tom states:

“I wasn't sure if I was ever going to share this moment, but with our new song about to be released, it feels sort of fitting.

This was the very first song we ended up recording for the new album.

In December last year, on a whim - I flew across the country for the sessions, and if I'm honest, I was completely shattered.

I barely remember most of that trip. I was stuck in a cycle of self-abuse, drinking so excessively, barely sleeping or functioning. I used the last dollars I had to make that flight and get to these recording sessions.

At the time, I had no idea if it would lead anywhere. I didn't know if I cared either way. But something within me made me feel like I had to try. I felt like I had nothing left to lose.

I recorded the first vocals on day 1 feeling mostly numb. It had been a long time since I'd tracked vocals for my own music, so I spent a lot of time trying to shake off the cobwebs and attempt to reconnect with that part of myself.

But I remember one moment clearly. After the recording had finished for the day, I was walking back to the train station listening to a rough mix of the song, just to get ears on it.

When the last chorus hit, I completely broke down.

I started crying uncontrollably, out of nowhere.

It was honestly the first real burst of emotion I'd felt in a very long time. Maybe it was hearing myself sing again, hearing the song come to life, maybe it was realising how far I'd come creatively, while at the same time recognising how sick and lost I'd become in my personal life.

I stood there sobbing. Whaling. It was actually kind of embarrassing looking back at it and how any onlookers would’ve seen me.

But after I’d collected myself, it felt too important to overlook. I felt like that moment changed something in me.

It felt like the first time I truly admitted to myself that I was exhausted from hurting myself, that I wasn't okay - but maybe I WAS ready to work through it.

I'm sharing this because I want people to understand not just how much music means to me, and how powerful it can be. But how connecting with the thing we love most in a time of need can ignite a feeling of hope.

I think we all want to believe there’s things in our life worth holding onto. This was that, for me - when I needed it to be.

Nine months later, I'm doing the inner work at a healthy pace and learning how to be kinder to myself.

And it all started with this song. It all started with the journey of making this record and taking a chance on myself I didn’t feel I deserved.

Thanks for reading. I love you guys so much 🖤

“A Stitch In Time Saves None” is out at now.

Tom”

REVIEW: Eyesawgod - Genocide Gospel [2026]

Artist: Eyesawgod

Album: Genocide Gospel

Eyesawgod find themselves in a precarious position upon the release of their anticipated debut full length, Genocide Gospel. Emerging relatively early on in the grand scheme of the MySpace revival, the band’s early work was just that—a heavily nostalgic take on deathcore’s “greatest generation,” influenced heavily by the likes of early-career Suicide Silence, Whitechapel and Thy Art is Murder. This was at such a time in the revival that has now persisted throughout the lion’s share of the 2020s, and it’s easy to say now—in hindsight—that while it was a strong dose of nostalgic fun, it didn’t do a lot more than that (which isn’t inherently bad). But now, a couple years and a couple dozen revival acts later, there exists a growing divide between bands that simply repurpose 20 year old breakdowns and bands that strive to do a little more with their version of deathcore’s more primitive and primal sound. Enter Genocide Gospel. In a word, Eyesawgod’s debut LP is raw. Stripped down and gritty production adds heft and grit as the band move ever so slightly away from the mid-to-late 2000s in search of making a more lasting and unique impression upon the listener. Does it work? Let’s dig in and figure it out.

Eyesawgod’s instrumentation and production are carefully tethered, and they aren’t for everybody. If you’re one of those people who felt that the Count Your Blessings re-recording was necessary (intentionally distinct from good), then you probably won’t be the biggest fan of the choices made with the recording and production throughout Genocide Gospel. There is very little glitz or glam, and much much more grit and earthy density. This lends weight to the already kiloton cuts like introductory salvo “Warmonger,” and immense single “2:42 The Veil.” Here, girthy chugs dig into the listener’s head like sledgehammers while explosive and loud percussion roars underneath with the subtlety of a nuclear warhead. These moments channel just as much early-to-mid 2010s “Facebook downtempo” (bear with me here) as they do MySpace deathcore, and the change of pace is welcome. This is in sharp contrast to songs like “I’ll Show You God” and “Lacrimosa,” that see sharp riffs segue between lurid, looming breakdowns—and even if the homage to deathcore legacy acts seems a little on the nose in both examples, the point still hits home with lethal precision. With these two relative extremes defined, Eyesawgod spend most of their time between the two, blending moments of riff-driven energy with a cornucopia of devastating breakdowns. While this doesn’t really see Eyesawgod reinventing the wheel, it does see them tackling more diversity and intensity than before, tackling both more intricate and more immolating instrumentation both.

Eyesawgod match the fervor and ferocity of their musicianship with a strong vocal presence. Shrill high screams and blistering, robust bellows dominate Genocide Gospel, and in keeping with songs like “Gaza” (reimagined from their initial EP), the band lean heavier into overt political messages throughout much of the release. “Drop Safe Derelict” is an outstanding song from a vocal perspective, with outstanding energy, range and cadence absolutely stunning the listener. Likewise, “Bulletproof Broken Hearts” and “In Gethsemane” see a strong slew of screeching screams and gurgling growls alongside an immense instrumental performance. “Lacrimosa” is home to an overt nod to Oli Sykes’ Count Your Blessings-era lyricism with a tongue-in-cheek twist, and stands as probably the most overt “MySpace” tinted new track that Eyesawgod bring to Genocide Gospel, making it not only immensely fun but one of the most engaging tracks on an otherwise strong record.

So, as it stands, Genocide Gospel doesn’t completely dispel the revival roots that define Eyesawgod, but it does feature several songs and stylistic choices that see them grow beyond being just another revival-era band. With production and lyrical subject matter that likens them to King Conquer and a penchant for fun, bouncy breakdowns and grooves that wouldn’t be out of place in 2008, Genocide Gospel is a riveting debut LP that hints at a strong future for Eyesawgod as they continue to grow and evolve into their own more distinct sound and style. There are moments that veer dangerously close to “revival-slop” (a term I admonish but does get a point across), but these are increasingly few between, especially in comparison to many of the group’s peers. Admittedly, the production will alienate some—but I’d argue that it manages to avoid the common pitfall of “revival band nerfs their own production to sound nostalgic” and leans more into replicating the primal, sweaty intensity of a live performance. Some will be quick to write it off, but those who connect with it will likely find it adds to the overall experience of getting tactically nuked by the over-the-top tendencies Genocide Gospel boasts proudly.

8/10

For Fans Of: King Conquer, Thus Spoke Zarathustra, Molotov Cocktail, Restricted US

By: Connor Welsh

REVIEW: Catch Your Breath - Not Broken Enough

Artist: Catch Your Breath
Album: Not Broken Enough
Label: Thriller Records

Catch Your Breath has been on a steady climb since the release of their hit single, “Dial Tone,” which came from their debut album Shame On Me. The song took on a whole new life through airplay rotation on Sirius XM’s Octane and has amassed over 1 billion streams across multiple platforms. The journey for the band began in 2013, when guitarist Teddy Herrera formed the project under the name Inertia, with fellow producer Curtis Martin. After years of trial and error, the current lineup began to drop their first original music under the new moniker Catch Your Breath in 2017. They built a great local following in the Dallas music scene and began to pique the interest of music industry execs. Their touring history includes stints opening for bands like Breaking Benjamin w/Daughtry, From Ashes to New, The Word Alive, and even got invited for Imminence’s first tour in the US. Their live show is as breathtaking as their music and really is an experience of its own. With the release of Shame On Me, they saw great success with “Dial Tone,” “No Evil” and “21 Gun Salute.” Soon after, they hit the road on their very first headline tour with support from The Funeral Portrait and Archers. When that tour had many dates sell completely out, it was clear that the band was on a trajectory for great success. While they continued to hit the road, they wrote and released a deluxe edition of the album, featuring “Ghost Inside the Shell,” “Good in Goodbye,” and “Perfect World (ft. Ryan Oakes)”, in addition to a stripped back version of “Dial Tone” which has found its own success. It was clear that an identity was there, but still in the infancy stages. So, with one of the most recognizable voices in the post-hardcore scene in Josh Mowery, they set out to cement that identity. Enter Not Broken Enough, the band’s highly-anticipated sophomore album.

The unofficial first single from the album, “Dark,” found its home in fans hearts as a live debut during their headline tour. The song serves as a prequel to “Dial Tone,” sharing a lot of the same themes, lyrically. This song is a representation of where the band’s sound truly begins to solidify itself. It features an emotional, soaring and hook-laden chorus. The instrumentals have their heavy moments, despite the more ballad-like structure of the track. The highlight, though, is when it strips down before it kicks back into the chorus. Some of Catch Your Breath’s best moments are created by these types of build-ups. It’s not hard to see why this particular track has racked up over 17 million streams, making it their 3rd most popular song, behind “Dial Tone” and “Shame On Me.” The band has kept up with TikTok trends and this song, in particular, gained a ton of traction there due to the teaser videos that the band would post of them.

Another major highlight of the album comes in the form of “Gen[inside]” which features producer and up-and-coming alt rock artist, Kami Kehoe. This song is about being unfairly blamed for the mistakes of others and the importance of accountability. Deflection is a sign of a weak mind and lack of accountability ends up hurting everyone around. “What do you do this for? You break everything you touch… blood on all the floor. But you’re holding the gun.” These lyrics in particular really drive home the point of this particular song. Kehoe sings of remaining true to herself and not being willing to change for the demands of someone who always points the blame at anyone but themselves. “A broken world, but not broken enough,” is a reflection of the vicious cycle that is created by this lack of accountability. Musically, I have to say I love how prominently you can hear the bass line. If it were removed or faded into the mix anymore, it wouldn’t feel like the same song and I truly feel it really brings into play how heavy this song is, emotionally.

The album opens up in a very interesting way with “Contaminated.” That is to say that this track, in particular, is far different than what we’ve heard from these guys. Starting off with an acoustic intro, Mowery’s vocals and an effect-heavy repeat of “we’re contaminated.” The drums kick in and suddenly both bassist Cianan Madigan and drummer Onell Hernandez have taken center stage before the electric guitars kick in, just before the second chorus. I think the most memorable part of this song, though, is when Mowery continues to see his vocals climb, steadily higher before it strips back into the final chorus. There is a brief moment where the band stops playing fully and you just hear the clarity of his vocals before the second part kicks in. If anything, though, I think this track explores how strong the band’s songwriting has gotten over the years and is a good representation of that identity explored throughout the themes within this album.

If you thought this album was going to lose the heaviness that we’ve come to love in tracks like “No Evil” and “Cycles,” well you’re in luck because we have “Blood Money!” This song is especially poignant now, with all of the heavy loss we’ve seen over the past couple of weeks. It’s about exploitation, profiting from pain and doing what it takes to reclaim that control from those who are out to laugh at your pain. This track has one of the gnarliest guttural sections from Mowery yet and it really hits home how heavy this track is. Aggressive, in your face and unapologetic… this track is exactly what it sets out to be.

Still, the most brilliant parts of the album shine in the songs that have yet to be released such as “Red Alert,” which will be premiered tomorrow on Octane. This track feels like it has that same “it” formula that “Dial Tone” has and I wouldn’t be surprised if we see it blow up in the same way. This track is led heavily by the rhythm and percussion underlying the vocals. This song explores themes of toxicity within a relationship, in the same way that an addict is always chasing that next high. It’s a warning that things aren’t always what they seem and that, sometimes, the darkest of red flags can be overlooked in pursuit of feeling alive. Thematically, this track lichens this feeling to the thrill of an animal on the hunt. This song will undoubtedly be a fan favorite and likely will be very fun for the band to play.

“The Basement” starts as a stripped down, melody-driven track. The brilliant way that it builds into the first chorus and the pay-off you get when it kicks in, might be one of the best examples of just how well they can create those build-and-break moments that every band needs. Vocally, this is one of Mowery’s strongest moments in their discography. The breath control, as he holds out long, high notes repeatedly cannot be understated.

Finally, we come to the album closer “Hollow Dreams.” Even with this being one of the “slowest” songs on the album — at least until it kicks in, it perfectly wraps up this package of emotion, vulnerability and truth-telling that you hear throughout the album. This song is one of the most introspective that the band has written. It’s a relatable track about fighting your demons, never feeling like you’re enough and always feeling like what you’re doing wrong. The acoustic guitar melody underneath the first verse is extremely memorable, as well. Even only hearing the track once at first, I found myself humming it.

Not Broken Enough is a statement of identity for a band that felt like they had none. It is a proclamation that they are born to do this and a reminder that everyone can achieve their dreams, if they persist. Not only is this the strongest collection of art that they have written, but it is going to be the reason that they take their career to the next level. It’s a promise to their fans that they will never compromise who they are, for the things that the industry tells them they should be. Moreover, though, it’s just the beginning of a very bright future for these guys. Not Broken Enough is out this Friday, August 28th, via Thriller Records and can be pre-ordered at the links below! You can hear the album played, in full, on their upcoming Not Broken Enough tour which kicks off October 16th with support from TX2, Arankai and Colorblind!

VRSTY Announces Highly-Anticipated 3rd Studio Album, ícon

NYC's VRSTY have announced that their highly-anticipated 3rd studio album, ícon, will be released via Spinefarm Records on October 23rd. This album is the follow-up to 2024's Levitate, which we also reviewed. Accompanying the announcement is the insanely catchy and dancy “sugar,” which the band debuted on their past couple of tours. The song was written by vocalist Joey Varela and Colt Crevar and produced by Skyler Acord (Issues) and mixed by Sam Guiana. You can pre-save the EP on Apple Music. There are currently no physical pre-orders available for the album, but we will update if that changes!



Check out vocalist Joey Varela's statement regarding the release below:

STARSET SEEM TO BE SIGNALING NEW ERA

Cinematic sci-fi rockers STARSET have set their fans, the Messengers, ablaze with questions regarding their recent social media updates. All of their socials now have a new profile image, which appears to be pointed toward an anti-tech group. Additionally, they have posted a cryptic video which appears to be a propaganda message for a character referred to as “The Prophet.” The video makes a promise that The Prophet will create a world that is free of technology’s constraints on society and vows to “break the signal.” There is also a new website, theheavenlyword.org, which lends to the idea that this is some type of religious cult. Now we know that a lot of what we heard in the band’s latest album, Silos (2025) was geared in that direction so this just fuels the fire that this is the beginning of their new era. Recently, the band posted footage from their hometown show at Kemba Live! in Ohio and afterwards, treated fans to a Q&A. If you were there, you would know that the band’s mastermind, Dustin Bates, stated that the follow-up to his second novel, A Brief History of the Future is all but completed and in the editing phase. Additionally, though, he said that they are deep in the recording phase of their 6th studio album and that it would likely be launching next year. This rollout seems a bit too meticulous to be geared towards a book release and what’s more is that the band has promised VIP purchasers for their upcoming tour with Breaking Benjamin, Chevelle and Kami Kehoe that new music will be played for the duration of the event. Users across social media have begun to piece together the clues and all signs point to new music imminently. The question is: When? The tour begins on September 2nd, which is just under 2 weeks away. Will they unveil a new song during the tour? Will they surprise fans at the VIP with more information about their upcoming album? Below are some of the pieces we’ve seen put together, beginning with the propaganda video itself:

Here is the image that they’ve updated their profile pics with:

Fans on Reddit have noticed that if you click around on the website, you will find a password-protected link titled “plans updated 2015”. As of this post, no one has been able to decode the password. Some even speculate that, given the teasers just started happening, there might not be a password and it may be a red herring for an as-of-yet-disclosed part of the ARG.
-There are 4 sections of the website:
Peace (links to the URL itself)
Paradise Prox (links to the aforementioned video and the password-protected link)
Our Beliefs (explains the beliefs of the group)
Join Us for Service (links to dates for “Anti-Tech” demonstrations) - Fans have noticed that this does not include every date on the tour and are speculating that something will be different about these particular performances, as opposed to the rest of the tour.

Fans have also been able to hunt down a clue which leads to a hymnal, which was created by St. Thomas (which they are speculating to relate to Thomas Bell). The link to that can be found here: https://hymnary.org/text/the_heavenly_word_proceeding_forth

Still more have begun to reverse the chants in the band’s interlude, “Temple of Milton” and noted that you can hear something along the lines of “Send us a savior…”

The band came under fire after using AI-generated imagery in their video for “DEGENERATE” and Dustin Bates doubling down on the usage, in a satirical way, with all of the images being created by real artists but being fed through an AI generator to poke fun at the dangers of it. Now, this particular website includes clearly AI-generated images, which some believe reveal that the “cult” is not trying to hide its true nature.

But I believe the most important clue is in these words:
"Silence the signal, and you shall finally hear the Word that has been screaming in the void."

Whatever it is that STARSET is up to… it’s clear that they are not coming quietly… keep your eyes peeled on their socials for more clues and we will try and update this post, once more has been revealed.

Update 8/19/26 - 9:30pm CST - “Will you join us…”

Update 8/19/26 - 10:26pm CST - Password has been revealed to be WilliamDanaher and leads to plans for a 1000 Year Reign on Prox. Additionally, there is a 49 second clip of new music with distorted vocals toward the end.

Update 8/20/26 - 7:16am CST - the band are reportedly planning to release a new single entitled “Parad0x1c” on August 21st and the following artwork has been found supporting this.

Update 8/20/26 - 8:29am CST - fans are reporting that the song is now confirmed to release via a listing on Spotify, at midnight EST tonight!

Update: 8/24/26 - 1:18pm CST
STARSET has released an official lyric video for “Parad0×1c” as well as posted a new teaser, which appears to introduce us to the Prophet

Update: 8/25/26 - 12:55pm CST - “a shepherd and his flock…”

Review: If not for me - Where the Light Begins to Fade

Artist: If Not For Me
Album: Where the Light Begins to Fade
Label: InVogue Records

Pennsylvania’s If Not For Me have not come quietly onto the scene. In fact, even when they were still entirely independent, they managed to reach #53 on the Top Current Hard Rock albums chart with their sophomore release, Eulogy. However, they began to find even more of a footing with the release of their hit single, “Feel Me Now” which has now amassed over 13 million streams across all streaming platforms. They spent several weeks on Sirius XM Octane’s “Biguns Countdown,” peaking at #6 and it’s companion album, Everything You Wanted peaked at #6 on the Current Hard Rock albums chart, as well! They’ve built an impressive touring history, opening for the likes of The Funeral Portrait, Memphis May Fire and several festival appearances. They also just recently wrapped up their first proper headline tour with support from Windwaker and Colorblind. They wasted no time getting back into the studio after the release of Everything You Wanted, releasing “Say It to My Face,” which features Left to Suffer’s Taylor Barber, roughly 7 months later in October. This hard-hitting track spent several weeks in rotation on Octane, hitting #7 on the Biguns countdown. But in June 0f 2026, they finally announced the release of their highly-anticipated studio album, Where the Light Begins to Fade.

The album opens up with “Retrograde,” which also spent some serious time in rotation on Octane. The track starts off slow and ethereal before exploding into a chorus that, quite honestly, has remained stuck in my head since I first heard it. This track grips you and doesn’t let go from beginning to end. It’s a song about the grief that comes with loss and this song is full of surprises. Breakdowns, trap beats and soaring vocals are all right here waiting. The star of the show in this track is drummer Cody Frain, whose playing commands the listeners attention and almost overpowers the rest of the band.

There are some amazing features on this album and the first of those comes from Trevor Borg of Wind Walkers, who the band is heading out on tour with this Fall on their headlining “I Don’t Belong Here” tour. Both vocalists have a unique sound to them, commanding a higher register, emotion and breath control that is near second to none. There are a lot of similarities to their vocal styles but it’s undeniable where each of them is within this track. This song is about the struggle of escaping a toxic relationship, due to the addictive control it has over you.

“Novocaine,” which features Josh Mowery of labelmates Catch Your Breath. This track is more on the emotional track, ballad-like and as lyrically impactful as it is on a sonic level. It’s about the loss experienced as a result of someone not letting the other person in. If Not For Me and Catch Your Breath share a beautiful history together and hearing them together on a track like this will undoubtedly move the listener to tears. Unique vocals that leave every bit of what they have in that vocal booth, this is a highlight of the album for sure.

Have you ever had someone who praises you in public but prays for your downfall in private? We all have experienced this and, luckily, we have “Prey For Me,” as a way to show that Glover relates to this feeling. There are some psuedo nu-metal elements to the guitars in this track, which really make it stand out. The breakdown callout of “You want a front row when I’m sinking, oh!” is probably one of my favorites in recent memories.

While there are a lot of songs that explore questioning one’s beliefs, especially from a religious standpoint. However, the underrated “Broken Throne” on this album might be, quite frankly, one of the best examples of this. While there’s not much of this track that breaks new ground, I have to applaud the dichotomy of light vs dark within both the lyrics and the music. Easily one of the heaviest moments of the album is within the bridge of this song, but it also has some of the airiest and lightest vocal melodies.

It cannot be stated enough how cinematic that If Not For Me’s music can feel and I don’t think there has been a better example of that than “Close to Closure.” Fittingly, this closes the album and features every element that we’ve come to love about this album. Beyond the soaring quality of the vocal and, additionally, the vocal runs in this track, there are some symphonic elements and a huge atmospheric build. It perfectly encompasses what this album seeks to bring forth sonically.

Overall, If Not For Me continue to prove themselves metalcore royalty time and time again. Maybe they’re not quite on the level of August Burns Red, Killswitch Engage, etc but they are well on their way. When it comes time to pass that torch, I have no doubt that they’ll be next in line. Where the Light Begins to Fade is more than an album, it is a statement against facing your inner demons and coming out laughing on the other side. Through pain and struggle, perseverance has shown that they aren’t going anywhere any time soon. Check out a few tracks below, pick up your copy today and be sure to catch them on the “I Don’t Belong Here” tour which kicks off next month!

Buy/Stream Where the Light Begins to Fade

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