TWENTY ØNE PILØTS

Twenty One Pilots is an alternative rock duo from Columbus, Ohio. It started out as a band in 2009, formed by singer and songwriter Tyler Joseph, bassist Nick Thomas, and drummer Chris Salih. Joseph and Thomas were high school friends, and Joseph later met Salih while attending Ohio State University.

Pixies

Open Wed, Thur, Frid, 3pm till late Sat , Sun 12 pm till Late

Nas

Nasir Jones took himself from the Queensbridge projects to become a worldwide star by creating some of the most influential Hip Hop records of all time.

The All-American Rejects

The All-American Rejects are an American rock band formed in Stillwater, Oklahoma in 1999 and currently consists of Tyson Ritter, Nick Wheeler, Mike Kennerty and Chris Gaylor.

Alanis Morissette

Alanis Morissette (born June 1, 1974) is a child actress turned alternative pop rock sensation, known for her candid and emotive delivery, Morissette was born in Ottawa, Ontario, Canada.

Rise Against

NEW ALBUM RICOCHET OUT NOW.

Listen: https://riseagainst.com/ricochet

Tool

Tool (formed in 1990) is a Grammy Award-winning American alternative metal and art rock band that also lends influences from progressive and psychedelic rock, hailing from Los Angeles, California, U.S.

Pierce The Veil

Right now, Pierce the Veil are at their most raw, crackling with urgency and immediacy. Never predictable, always engaging, Pierce the Veil continue to soar on the strength of highly potent energy, rich musicality, and a scrappy sense of authentic exuberant ambition that's frankly unrivaled. Frontman Vic Fuentes, guitarist Tony Perry, and bassist Jaime Preciado put volatile, angsty, confessional emotions into the music, which is why their songs resonate with so many. "No matter where the band performs, fans will show up," wrote Loudwire. "When you see Pierce The Veil live, you'll understand why."

PTV's evolution from album to album is nothing less than stunning. The early buzz generated by A Flair for the Dramatic (2007) made its follow-up one of the most anticipated albums of 2010. Selfish Machines shot to No.1 on Billboard's Heatseekers chart. The Chicago Tribune saluted Collide with the Sky for its "post-hardcore punk with more than a few nods to Queen." They became a true arena act on Misadventures, selling out huge venues without losing the intimate connection with their fans.

Pierce the Veil have long cemented their status as one of the most exciting and relevant acts in their genre — by constantly evolving.

3OH3

NEW MUSIC OUT NOW

Iggy Pop

Iggy Pop is a rock singer, songwriter, actor and producer hailing from Muskegon, Michigan, USA and born on the 21st of April 1947. He is one of the most electrifying performers in the history of rock, both as a solo artist and as frontman of legendary proto-punks The Stooges.

Santigold

Santigold (born September 25, 1976) is the stage and recording name of pop, R&B, punk and electro singer-songwriter, Santi White, hailing from Philadelphia, Pennsylvania, U.S.

Bright Eyes

Bright Eyes is the main project of American singer-songwriter/guitarist Conor Oberst. Bright Eyes also features multi-instrumentalist/producer Mike Mogis, keyboard player Nate Walcott and a rotating lineup of collaborators drawn primarily from Omaha, Nebraska's indie music scene. Conor Oberst has been recording music since the age of 13. He released his first two albums at the age of 14 with a band called Commander Venus. After the break-up of this band in 1997, Conor's main focus became Bright Eyes, and in 1998 he released the first Bright Eyes album, A Collection of Songs Written and Recorded 1995-1997(a collection of 20 stockpiled songs) on the independent label saddle creek Records, which he had co-formed earlier in collaboration with fellow local Omaha musicians.

Saddle Creek also put forth Letting Off the Happiness in November 1998, a ten track piece that boasted a much more focused and clear sound than the previous album. According to the Saddle Creek press release, it features members of Lullaby for the Working Class, Neutral Milk Hotel, and of Montreal. It was predominantly recorded in the Oberst family basement in Omaha on an analog eight track reel to reel; with some work also done at keyboardist Andy Lemaster's Athens, GA studio. Although almost all of the tracks feature a full band, June on the West Coast is performed with only acoustic guitar and vocals. Padraic My Prince gives a dramatic fictional account of the death of Oberst's baby brother, used as an analogy for being dumped.

In 2000 Bright Eyes released Fevers and Mirrors, a demonstration of the immense improvement in production quality and musical vision of the band. New instruments such as flute, piano, and accordion were introduced into the song arrangements. After An Attempt to Tip the Scales, a mock radio interview takes place. The mock radio interview features Todd Fink of The Faint doing an impression of Conor Oberst while reading a script that Oberst wrote. The man interviewing is Matt Silcock, a former member of Lullaby for the Working Class. In this interview, the fake Oberst intentionally presents a strange, contradictory explanation of his attitude towards his music. The interview acknowledges criticisms of his lyrics as overblown and insincere, which had begun to appear as the popularity of the band increased, but responds by stating that the lyrics are meant for personal interpretation. In a 'real' interview with KittyMagik.com, Oberst stated about the mock one: "It was a way to make fun of ourselves because the record is such a downer. I mean, that's one part of who I am, but I also like laughing and fucking around".

2002 saw the release of Lifted or The Story Is in the Soil, Keep Your Ear to the Ground, and since then Oberst has released an almost constant stream of new material on collaborative EPs, split singles, tribute albums, and charity records. He ventured into the studio with Nebraska folk-pop outfit Tilly and the Wall, co-producing their debut album Wild Like Children and released it on his newly established record label, Team Love.

January 2005 saw the release of two albums: I'm Wide Awake, It's Morning, which is a country-tinged mélange of Conor’s finest acoustic songs, featuring guest vocal appearances from Emmylou Harris and Jim James of My Morning Jacket and Digital Ash in a Digital Urn, which is a more produced, band-centric album featuring cameo appearances by Nick Zinner of the Yeah Yeah Yeahs.
One single from each album, Take It Easy (Love Nothing) from Digital Ash and Lua from I'm Wide Awake took the top two slots on Billboard Hot 100 Singles Chart, the first time for any artist since 1997.
As had become expected of Bright Eyes recordings, the albums feature an array of talented comrades including bandmembers of Rilo Kiley, Tilly and the Wall, Cursive, Now It's Overhead, The Good Life, Azure Ray, The Faint, The Bruces, Neva Dinova, The Postal Service and Audrye Sessions.

In October 2006, Bright Eyes released a compilation of rare tracks called Noise Floor: Rarities 1998-2005.

Bright Eyes released a new studio album called Cassadaga on April 9, 2007, preceded by an EP entitled Four Winds on March 6, 2007.
A further 25-30 tracks have been recorded in Portland, Oregon and New York City, with another session planned in Omaha, Nebraska. Some of these tracks have already been performed at live shows.

- - - - -
TRIVIA
A few of Oberst's songs find their roots in classic literature, such as Tereza and Tomas (an obvious reference to Milan Kundera's Unbearable Lightness of Being) and Neely O'Hara (Valley of the Dolls).

List of bands compromising Conor Oberst:
Bright Eyes (1995-present)
Commander Venus (1995-97)
The Magnetas (1996)
Park Ave. (1996-98)
Desaparecidos (2000-01)
Conor Oberst And The Mystic Valley Band (2008-present)

Taking Back Sunday

Taking Back Sunday (formed in 1999) is an American post-hardcore and alternative rock band from Amityville, New York, in the U.S.

Morrissey

Patti Smith

Hljómsveit sem leikur með Patti Smith og flytur rokk/pönk-tónlist með áherslu á verk hennar.

Bad Religion

They say rock’n’roll is a young man’s game. Imagine what they say about punk.

Bad Religion never worried much about what “they” say, and neither should you. Go by the energy, go by the intent, go by the WORK – of which this classic, groundbreaking hardcore band could never be accused of avoiding.

Aside from essentially defining the California half-pipe punk blueprint, Bad Religion has defied the usual trend-shifts or values-ditched ubiquities of the usual punk band storyline and morphed along with challenging album after challenging album amid astoundingly consistent touring, retaining their core audience while roping in subsequent generations of anxiously energetic kids.

The band has long settled into the current lineup who have arguably enacted to most muscular Bad Religion to ever kick empties across a stage: Greg Graffin (vocals) and Jay Bentley (bass) join Brian Baker (guitarist since ’94), guitarist Mike Dimkich (8 years in), and drummer Jamie Miller, who’s already been with the band for six years.

Bad Religion is in an almost singular position in the history of punk. Having formed right on the heels of the original explosion, they led the west coast arm of hardcore’s birth, adding their chunky riffs, zooming harmonies, and viciously verbose lyrical punch to the basic bash of hardcore. Then the band continued to expand their pop-punk template through the ‘80s and into the indebted “neo-punk” sound of the early ‘90s and weathered the questionable dichotomies of the “alternative rock” era by doing what they’ve always done – releasing explosive album after album to consistent acclaim from fans and critics.

And if you’re positive there is no way they could keep doing the same thing all these years, you’d be right. They haven’t. They’ve continued to throw songwriting and production wrenches into the works so’s not to bore themselves or their never-diminishing following.

The re-rejuvenation started around 2007’s New Maps of Hell, with its titular nod to their classic debut album (How Could Hell Be Any Worse), matching that youthful fire with a deeper burn born of growing up through all the actual pain you worried might happen when you were a teen.

The Dissent of Man (2010) had the increasingly active professional author Greg Graffin unleash all the verbal venom he could most freely spew with his beloved punk band, while musically, the band delved into some varying tempos. Then, with True North (2013), Graffin got even madder, and the band followed suit. Then they immediately followed up with an album of rabid runs through holiday classics, Christmas Songs (2013), because why the fuck not. When Bad Religion is often described as “intellectual,” that doesn’t mean just their lyrics, it means their musical choices, like whipping up a completely unexpected and heartfelt Xmas record.

Six years passed, and one might’ve worried the band had been beaten down like every other good thing during the Trump years. But no! on 2019’s Age of Unreason, they gathered together 15 tracks of some of the best material of their career, adding a wee more production gleam suited to amping up the songs to get through all the dispirited noise of that time and mixing their perfect balance of dystopian dread and future hope into Age of Unreason.

Not that they had gone anywhere for those six years, except on tour, a lot. The current seven-year-running lineup can flesh out any of the band’s eras, but they seem perfectly suited for the band’s latter-day catalog that’s so vehemently fueled by the third-gear aggression of a punk band who is still out there playing with, gathering energy from, and inspiring the newest punk bands -- keeping these elder statesmen of punk sharp, incensed, and ready to go forward.

The band’s rep, as socially aware thought-provokers, can obscure the fact they’ve remained one of the most viscerally powerful live bands on the planet, remembering it’s the beats and riffs that get your ass off the couch in the first place.

Of course, being stuck to the couch was sometimes inescapable during our last terrible year of COVID fear. So once again, leaning into their smarts, Bad Religion concocted a recent online run of eight, chronologically curated, streaming live show docuseries, recorded at the Roxy in Hollywood as COVID reared its ugly ass. Two seasons of career-highlighting, fan-thanking ballyhoo, featuring reminders of the band’s development in the face of often simplistic skate punk pigeonholing.

When he’s not stomping on some festival stage in front of thousands somewhere, singer Greg Graffin is a professor and author who has released numerous books on history and personal survival. He even garnered the prestigious Rushdie Award for Cultural Humanism from the Harvard Humanist Chaplaincy in 2008.

And now, in 2021, Bad Religion has finally received its own long-awaited autobiography, Do What You Want: The Story of Bad Religion (out soon on paperback), credited to, of course, the whole band. While propped up on the band’s egalitarian legend, its focus is the long and moshing road of a band who probably would’ve laughed if you’d told their 20-something selves they’d be celebrating their 40th anniversary. Laughed, then strapped on their guitars and jumped out on stage again.

If you get to see Bad Religion – as they plan upcoming tours and festival shows by the end of the year – you’ll see that snotty 20-something is still kicking its way out.

Elvis Costello & the Imposters

Elvis Costello and The Imposters – Steve Nieve (keyboards), Davey Faragher (bass), Pete Thomas (drums) – have made a sensational new album that ranks alongside the best work this singularly great artist has ever produced.

Recorded in Hollywood, New York City and Vancouver, British Columbia, ‘Look Now’ is beautiful in its simplicity, reflective in its lyrical vision, surrounded by melodies and orchestrations that are nothing short of heavenly. It’s the first album Costello has made with The Imposters since the 2008 release of ‘Momofuku’ and his first new album since the acclaimed 2013 Roots collaboration, ‘Wise Up Ghost’.

Anyone anywhere in the world who has seen Elvis Costello and The Imposters live can testify to their unmitigated swagger. Costello’s suspicion that it was time to return to the studio was confirmed while on the ‘Imperial Bedroom & Other Chambers’ tour of the USA, last summer and he realized the power and sheer musicality of The Imposters had never really been fully captured on one record.

“I knew if we could make an album with the scope of ‘Imperial Bedroom’ and some of the beauty and emotion of ‘Painted From Memory’, we would really have something”, said Costello.

‘Look Now’ is an outstanding 12-strong addition to his song catalogue. Most of the titles were written solely by Elvis Costello although, ‘Don’t Look Now’ and ‘Photographs Can Lie’ were co-written with Burt Bacharach, who makes a guest appearance, leading The Imposters from the piano for those two ballads.

Another song to which Bacharach contributed, ‘He’s Given Me Things’ features some of the best singing Elvis has ever recorded, while ‘Burnt Sugar Is So Bitter’ was written with Carole King and closes with a serpentine horn line winding around Steve Nieve’s atmospheric keyboard parts.

The album was co-produced by Elvis and Sebastian Krys - the Latin Grammy Producer of the Year for 2007 and 2015, whose love and understanding of music spans both hemispheres.

Sebastian had worked extensively with Pete and Davey in the Los Angeles studios, so it’s no surprise that this dynamic rhythm section was incredibly well-prepared for the recording sessions. “When Pete and Davey are in this kind of rare form, it’s wise to get on the back-beat with your Telecaster and stay out of their way”, said Costello.

Speaking of his own role as co-producer, Costello said, “I had all of the orchestrations and vocal parts in my head or on the page before we played a note, so it was essential that I worked closely with Steve Nieve to maintain the light and space in the arrangements and allow him to shine.”

Costello completed the picture by adding both guitar and his own vibraphone or celesta parts to his orchestrations but remarked, “Sebastian was there to make sure only the essential notes got onto the record, whether it was a fuzz-tone guitar or jazz bassoon.”

“In the final mixing, Sebastian did a beautiful job of keeping everything present but always lead by emotion or narrative, although when balancing the band, my voice and the quartet of woodwinds and horns that I’d written for ‘Stripping Paper’, I told him to “Just trust the blur.”

Afroman

Exploding into the American progressive roots scene in 2018 with their #1 Billboard Reggae album Defy Gravity, The Elovaters have quickly become a household name for lovers of Sublime, Jack Johnson, Dave Matthews, Stick Figure and more. Their music has been featured on CBS’ Hawaii Five-O and their song “Boston” was played during the World Series Parade when the Boston Red Sox won in 2018. Several of The Elovaters songs are in heavy rotation on SiriusXM’s “No Shoes Radio,” “Margaritaville,” and “The Spectrum.” They won Artist Of The Year, and Live Act of The Year in the 2022 New England Music Awards, and a few months later were voted Reggae/Ska Artist of The Year in the Boston Music Awards. Their 5th studio album, Shark Belly Motel, will be released on Ineffable Records May 15, 2026.

https://theelovaters.com/

Insane Clown Posse

Hallowicked 2024 Tickets On Sale Now!

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https://linktr.ee/insaneclownposse

Social Distortion

Formed in 1978 in Fullerton, California, Social Distortion took up the flagship rebellious punk their predecessors (the Clash and Sex Pistols) left after their disbandment. However the group abandoned some of the pop constructs heard in punk’s formative years and embraced a more brutally stripped down sound (at least initially).

Tricky

RA: Resident Advisor

Thrice

En rykende fersk forestilling i tre akter.

Descendents

The Descendents are a punk rock band formed in 1978 in Manhattan Beach, California by guitarist Frank Navetta, bassist Tony Lombardo and drummer Bill Stevenson.

Alkaline Trio

Alkaline Trio are a punk band hailing from McHenry, Illinois, United States who formed in 1996. Since their debut in 1998 they have become one of the most critically acclaimed acts in modern punk and command one of the biggest cult fan-bases in American rock as a whole.

Motion City Soundtrack

'The Same Old Wasted Wonderful World' Out now on Epitaph Records.

Pennywise

Originating from California US, Pennywise are a long-standing and politically-motivated punk-rock, skate-punk, alternative collective who take their name from a clown-like monster in Stephen King’s 1986 horror novel ‘It’.

Slick Rick

“THE most sampled hip-hop artist in history” and “Hip-hop’s greatest storyteller,” Slick Rick (born Ricky Martin Walters) has set the pace for rap’s past, present, and future. Proudly donning his signature eyepatch, he has remained a true hip-hop superhero for the art since his emergence. The GRAMMY® Award-winning artist has gone from humble beginnings in Mitcham (South London) and The Bronx to performing at Carnegie Hall and earning a place in the country’s most hallowed hall—the Library of Congress. The Smithsonian National Museum of African American History and Culture paid homage to him with a popular exhibition, and the Bronx Walk of Fame bears his name on a star as does a street in the borough, and his jewelry displayed at the Hall of Gems at the Museum of Natural History.

His legacy represents the confluence of elevated rap storytelling, fashion, jewelry, and philanthropy as well as the three cultures he proudly embodies—Jamaican, British, and American. Countless moments speak to his enduring influence, including a lyrical shoutout by Eminem, a mention by JAY-Z on My Next Guest Needs No Introduction with David Letterman, a nod from Mark Ronson during a TED Talk, and duets with Mariah Carey at Radio City Music Hall and Madison Square Garden and countless references by Nicki

Minaj and J. Cole. The Ruler's catalogue, which includes the anthems “La-Di-Da-Di” and "The Show,” boasts over 900 samples, ranging from Snoop Dogg’s “Lodi Dodi” from 1993’s seminal Doggy Style through Jay Rock’s GRAMMY® Award-winning “King’s Dead” [feat. Future & Kendrick Lamar]. The Recording Preservation Board of the Library of Congress designated “La-Di-Da-Di” for long-term preservation in the National Recording Registry.

Entering rarified air, it joins the ranks of only 650 recordings, dating back to the mid-19th century. Throughout his storied career, Slick Rick has received over 35 honors recognizing his groundbreaking contributions to music and culture, his commitment to community uplift, and his forward-thinking investments as both an artist and entrepreneur. His influence extends far beyond the stage — into philanthropy, real estate, and the broader cultural landscape.

Always ahead of the curve, he recently made waves with a residency at Bakkt Theater at Planet Hollywood Las Vegas. Noted as “the third artist signed to Def Jam Recordings” and “the most successful British-American rapper,” his multi-platinum discography encompasses The Great Adventures of Slick Rick [1988], The Ruler’s Back [1991], Behind Bars [1994], and The Art of Storytelling [1999]. Slick Rick’s influence extends across generations and platforms, with his likeness immortalized in gaming and digital culture—solidifying his place among the Mount Rushmore of hip-hop. He casts just as wide of a shadow over the world of fashion, headlining campaigns for MCM, Nike and NORDSTROM and collaborating with Supreme, Puma, Ballys, PACSUN, Urban Outfitters, Odd Sox, and ill-iOptics for collaborations. Moreover, he supports underserved and overlooked communities via his non-profit 501(c)3 organization, The Victory Patch Foundation.

He doesn’t follow the beat. He creates it.

Slick Rick Is Art.

Joey Valence & Brae

Less Than Jake

Less Than Jake is an American ska punk band from Gainesville, Florida, formed in 1992 and currently consists of Chris Demakes, Roger Lima, Vinnie Fiorello, Buddy Schaub and Peter "JR" Wasilewski.

Gogol Bordello

Gogol Bordello are a gypsy punk band, comprised of members from across the globe. They formed in Lower Manhattan, New York City, in 1999.

Destroy Boys

The title of Destroy Boys’ new album, Funeral Soundtrack #4, might seem like a bit of playful irony but the California band is being quite literal. “Looking back, our first three albums marked the deaths of things,” says guitarist Violet Mayugba. “They were soundtracks to our funerals, whether they were for our ag es, our mental states. We’ve gone through a lot of changes as a band

and as people.”

Destroy Boys formed in 2015, when founding members Mayugba and Alexia Roditis were just 15

years old, and each release has marked a period of growth and change. “The first one was our

high school album,” Mayugba explains. “On the second record, we went to college and were

saying goodbye to our childhood. On the third one, we’d just gone through COVID and, speaking

for myself, I lost my entire sense of self and gained a new one.”

Now, at 24, Mayugba and Roditis are standing firmly on solid ground with their fourth album,

more resolute and confident than ever in their place as musicians. “With Funeral Soundtrack #4, I’m done being walked all over. I’m done being taken advantage of by people in the music industry and by people I date. I’m done doing what other people tell me to do,” Roditis says.

Funeral Soundtrack #4 was recorded over 2023 with Carlos de la Garza (Paramore, The Linda

Lindas, Best Coast) and pushes Destroy Boys into new sonic territories. It’s still grounded in the band’s punk rock roots but leans into the members’ more eclectic influences, like salsa and bossanova. de la Garza also helped highlight their gothier inspirations, like the Smiths, Cocteau Twins, and Siouxsie and the Banshees. Roditis’s voice, which was often buried in the chaos of their previous work, shines through more ever, and flexes an impressively wider range. “Something we’ve always prided ourselves on is making very clear ascensions and leaps with every record,” Mayugba says. “We’re in pursuit of that greatest, biggest sound.”

Themes of adulthood, maturity, and love run through

Funeral Soundtrack #4. Many of the album’s songs had been in the works for years, and fill in the gaps of Destroy Boys’ catalog. “It really feels like this album is a culmination of the last four years of writing music,” Roditis says. “Boyfeel,” a song Roditis started writing at 17, sees them exploring their evolving relationship with gender nonconformity, while “Shadow (I’m Breaking Down),” the band’s first song to chart on Alternative Radio, delves into the Jungian idea of the shadow self. “I’ve seen a lot of people on TikTok talking about confronting your shadow, but when you see stuff like that on the internet, it doesn’t go into the depths of that concept. I really wanted to put together my thoughts on the shadow side and also talk about mental health in a way that I haven’t heard in a song before,” they say. Standout single “Plucked” decisively proves Destroy Boys can craft a perfect rock hook, and Roditis belts out a Spanish love song on “Amore Divino.” Hardcore ripper “Beg for the Torture” marks the first song on which Mayugba and Roditis pull dual vocal duties, trading scathing verses back and forth, an approach which takes influence from Sleater Kinney. On “You Hear Yes,” the band teams up with fellow powerhouses, Scowl’s Kat Moss and Mannequin Pussy’s Marisa Dabice, to share experiences of male harassment. “It’s funny because we always used to get labeled as a feminist punk band, but we don’t actually sing about that very often,” Roditis says. “So on this record we wanted to make a very blatant fuck the patriarchy song.”

Destroy Boys have gained a ton of ground in the music scene over the last few years, touring with giants acts like Pierce the Veil, blink-182, and Alkaline Trio, and playing reputable festivals around the world, like Coachella, Riot Fest, and Pukkelpop. And they’ve done it all while vehemently kicking against the aspirational guilt that has historically been ingrained in the fabric of punk rock. “There’s so much shame in punk about wanting to succeed and wanting to

play music for the rest of your life,” Mayugba says. “And I feel like women in rock are especially shamed for that, where our pursuit of greatness is looked down upon even more so. And we reject that so outwardly. We’ve always wanted to be the biggest band ever. We don’t want to be a club band. We want that stadium sound.”

Funeral Soundtrack #4 captures Destroy Boys at their most evolved self, miles ahead of the scrappy, teenage sound that a new generation of rock fans fell in love with on their 2016 debut Sorry, Mom, but the record never loses the band's identity in the process.

“Funeral Soundtrack #4 is our best record yet, no question, but it’s still authentic,” Mayugba says. “It’s more presentable, it’s hookier, it’s more palatable, but it's also real Destroy Boys.”

Mom Jeans

Cartel

JMSN

New Album ‘…it’s only about u if you think it is.’ Out Now.

Twin Peaks

Sex Pistols

Bayside

The Chats

www.thechatslovebeer.com

Public Image Ltd (PiL)

Pup

It seems significant that there were bats in the mansion’s attic, although how significant it seems will have something to do with how you feel and what you know about PUP. None of it is a metaphor, and also all of it is.

The mansion, for its part, is very real—it is a sprawling residence-slash-studio in Connecticut’s most dispiriting mid-sized city where the producer Peter Katis has helped acts like The National and Interpol and Frightened Rabbit and Kurt Vile make records. There are gold records on the walls and warrens of strange new rooms that the band members discovered seemingly daily; the roof leaks when it rains, and the bats reclaim the attic after dark. PUP singer Stefan Babcock recorded all his vocals in the living room, at night. “The other guys were just trying to live their lives,” he said, “and Nestor and I would be down there screaming into microphones while they were watching TV in the next room.” Babcock remembered Katis telling him that the bats “go away” during the daytime hours. “I was like, ‘no, they’re sleeping,’” Babcock said. “They don’t go anywhere, there’s nowhere for them to go.’”

The band spent five weeks there in the summer of 2021, recording and mixing the typically furious and anthemic songs that would become their fourth album, THE UNRAVELING OF PUPTHEBAND. The band—Babcock, bassist Nestor Chumak, drummer Zack Mykula, and guitarist Steve Sladkowski—more or less never left. “There were some days that were really great, like magical, everything worked and then we’d go to the kitchen and make a great meal,” Sladkowski said, “and then there were days when you’re like ‘I can’t remember the last time I’ve been outside.’” Circumstances—a global pandemic, still happening, not much fun to talk about and won’t be addressed further here—made cultivating a healthy, communal vibe more difficult, but the band powered through by having friends like Sarah from Illuminati Hotties, Kathryn from NOBRO, Mel from Casper Skulls, and Erik from Remo Drive pitch in. When the band got comfortable in its strange new home, the (figurative) walls came down. “As the weeks passed, we seemed less and less rational, objective, and sane,” Babcock says. “You can hear the band start to fall off the cliff, and because of that, I think this record is our truest and most genuine to date. There is nothing more PUP than a slow and inevitable descent into self-destruction.”

Every PUP record arrives with an implied “contents under pressure” warning; the tension between the band’s instinct for the melodic and its gift for chaos propels the songs forward while making them also seem close to flying apart in a horrifying spray of tears and gore. To listen to PUP enough is to spend parts of every day mentally echoing some hilariously self-lacerating, utterly undeniable choruses; you will find yourself thinking “this is the mosh part” at moments when you would otherwise be tearing yourself apart. It is one thing to feel, as Babcock sings on THE UNRAVELING’s “Totally Fine,” “like I’m slowly dying/and if I’m being real I don’t even mind,” but it is another, very different thing to find yourself shouting along with those words. There’s a tension here, too. “There’s only so many times you can write a song about how much you hate yourself before you write a song about how fucking good you are at hating yourself,” Babcock says. “It’s funny that we’ve provided for ourselves by being fuck-ups and writing songs about being fuck-ups. We’ve been fuck-ups forever, and now we’ve got a responsibility, to others and to ourselves, to fuck up in a productive manner.”

That’s not any easier than it sounds, but also the volatility is the thing; all that tension is always just barely held in place by the band’s craft. It couldn’t be anything but uneasy, but THE UNRAVELING OF PUPTHEBAND is the sound of a band that is not just comfortable with but in command of that chaos.

We are back in the mansion, now, albeit the metaphorical one. PUP is objectively a very successful band. They won a Juno Award for Alternative Album of the Year for 2019’s Morbid Stuff and have been nominated for the Polaris Prize and many nice things have been said about them in the places that people say nice things about bands; because they are PUP, "nice things" in this case means Pitchfork saying that they “turn self-loathing and self-deprecation into a sort of superpower.” Fans happily sing the coruscating words of their songs aloud in sold-out venues all around the world; they did a version of arguably the harshest song on 2019’s Morbid Stuff for a 2020 CBC Kids Christmas special in which they replaced the lyric “embrace the calamity” with “embrace the festivities”; they have performed on Late Night with Seth Meyers, and played at major festivals like Lollapalooza, Boston Calling, Shaky Knees, and Riot Fest. A mansion is a place where such a band might go to record an ambitious fourth album. That success doesn’t haunt THE UNRAVELING, although it does make it funnier; the “Four Chords” piano ballad threaded through the album tells the tale of a contentious quarterly meeting of PUP’s “board of directors” going selfishly awry. There is a long history of Mansion Albums; sometimes it works out well and sometimes it works out less well and more often than would seem plausible a Jaguar convertible winds up at the bottom of a swimming pool.

PUP is not really that kind of band, though, and THE UNRAVELING OF PUPTHEBAND is not that kind of record. It is still very much a PUP album, but relocating from the literal basement where they wrote Morbid Stuff to the janky manse in which they put together its follow-up afforded the band space to grow, and to make not just the next PUP record but the most PUP record. “This is a band that, until this record, out of some weird fucked up sense of misguided pride or idiocy, felt that we should never use any instruments aside from drums, bass, and guitars,” Babcock says. “We quickly came to realize that the instrumentation isn’t what makes PUP songs PUP. It’s the songs themselves, finding this balance between heavy and melodic, dark and fun, pushing the limits of our writing chops and musicianship in a way that makes us laugh and also want to smash shit. So this record starts with the stupidest piano ballad of all time. And there are synths. And there are horns. And there are some 808s and trap hi-hats. And some other weird shit that we haven’t done before.”

There is no faking that, which of course makes it all much harder to do. In the best PUP songs, the whole process is not just visible but thrilling—the anguish and doubt that drives the songs is nurtured, over a few loud minutes, into something first legible and then somehow empowering. There are a lot of these songs on THE UNRAVELING. The alternately plaintive and anthemic “Matilda” is a classic galloping PUP shout-along recrimination-fest that sounds bigger than previous entries in this robust subgenre without losing any of the signature acid. “Waiting” is pure paint-stripping heat, topped by some legitimately towering choruses. “Robot Writes A Love Song” dissolves into a wash of nervous synthesizer before becoming what is surely the most emotional song ever written from the perspective of a computer being overwhelmed unto death by actual human emotions. “I wanted to write about the horrible state of the world, but through a very specific and personal lens,” Babcock says. “It’s a lot of me trying to articulate my own coping with existential dread, hopelessness, and what I’ve called ‘Grim Reaping’—which is to me, the idea that we are all reaping what we sow, and right now we’re sowing some pretty fucked up shit.”

THE UNRAVELING is not a departure from what got PUP here, really; for all the new breadth, this is still very much the fourth album by the band that has spun songs about The Bad Decisions Lifestyle into scrappy art. The hooks are as bright and barbed as always; the poison threaded through every song is no less potent. But a fourth album should be different from the first, or even the third, and THE UNRAVELING is. “I don’t know that we set out to do new stuff,” Mykula says, of a record on which the band does a great deal of new stuff. “It’s just a band trying to sound as much like themselves as possible. Every record you make, you get closer to that.”

THE UNRAVELING OF PUPTHEBAND is that next step—not towards perfection, or even towards some more perfect version of writing songs about fucking up, but just in the direction of its choice. It’s a product of this endless awful broader moment, but also very much a step forward into that uncertainty. “The whole album process really brought us closer together, even as things unraveled,” Babcock says. “It’s hands down my favorite PUP record, and I don’t think it could’ve been made under any other circumstances.” It’s the sound of a band learning how to share the mansion with the bats.

The Format

Boycott Heaven, the new album out January 23, 2026.

Yard Act

Yard Act formed in Leeds late 2019 when Ryan Needham found himself temporarily living in James Smith’s spare bedroom. bedroom. Settling into a system of programming, looping and layering, the alchemy between the two created a base from which to build their complex and ever expanding narrative world. With just three hometown shows under their belt, world events intervened, ut rather than letting the pandemic derail them Yard Act set up their own imprint, Zen F.C. and across the course of 2020 and into early 2021 released four increasingly coruscating, hilariously dark singles. Subsequently expanded to a four-piece, joined by Sam Shjipstone (guitar) and Jay Russell (drums), their debut album “The Overload” was released in January ’22, landing a number 2 album in the UK, a Mercury Prize nomination, and making them one of the most talked about bands on the planet.

The Beths

The Beths know the futility of straight lines. This existential vertigo serves as the primary theme on the New Zealand indie heroes’ fourth album Straight Line Was A Lie (their first for new label ANTI-). The Beths posit that the only way round is through; That even after going through difficult, transformative experiences, you can still feel as though you've ended up in the same place. It's a bewildering thing, realising that life and personal growth are cyclical and continual. That a chapter doesn’t always end with peace and acceptance. That the approach is simply continuing to try, to show up. “Linear progression is an illusion,” lead singer and songwriter Elizabeth Stokes says of the album. “What life really is is maintenance. And finding meaning in the maintenance.”

The path from The Beths’ critically celebrated and year-end-list-topping 2022 LP Expert In A Dying Field to Straight Line Was A Lie, written in Los Angeles and recorded in the band’s hometown of Auckland, was also anything but straightforward. For the first time, Stokes was struggling to write new songs beyond fragments she’d recorded on her phone. She’d recently started taking an SSRI, which on one hand made her feel like she could “fix” everything broken in her life, from her mental and physical health to fraught family dynamics. At the same time, writing wasn’t coming as easily as it had before. “I was kind of dealing with a new brain, and I feel like I write very instinctually,” she says. “It was kind of like my instincts were just a little different, they weren't as panicky.”

Stokes and her longtime Beths bandmate, guitarist, and creative partner Jonathan Pearce responded by breaking down the typical Beths writing process. For inspiration, they read Stephen King’s On Writing, How Big Things Get Done by Bent Flyvbjerg and Dan Gardner, and Working by Robert A. Caro. Liz broke out a Remington typewriter (a birthday gift from Beths bassist Benjamin Sinclair) every morning for a month, writing 10 pages’ worth of material — mostly streams of consciousness. The resulting stack of paper was the primary fodder for an extended writing retreat to Los Angeles between tours, where Stokes and Pearce also leaned heavily into LA’s singular creative atmosphere, went to shows, watched Criterion classics from Kurosawa, and listened to Drive-By Truckers, The Go-Go’s, and Olivia Rodrigo. Opening themselves up to a wave of creative input, plus Stokes’ free-flowing writing routine, proved therapeutic. “Writing so much down forced me to look at stuff that I didn't want to look at,” Stokes says. “In the past, in my memories. Things I normally don't like to think about or I'm scared to revisit, I’m putting them down on paper and thinking about them, addressing them.”

Since Stokes, Pearce, and Sinclair started playing together (Tristan Deck joined in 2019), the four-piece have steadily risen through the indie-rock ranks, opening for household name acts like Pixies, The Breeders, The Postal Service, and Death Cab For Cutie; and they’ve garnered significant praise from pop and indie-adjacent heroes like Phoebe Bridgers, not to mention tastemaking outlets like Pitchfork and Rolling Stone. Over the last six years, The Beths have appeared at major international festivals, from Coachella to Primavera Sound to Newport Folk Festival and Bonnaroo, and Expert In A Dying Field has earned millions of global streams since its release in 2022.

Already a celebrated lyricist, Stokes has long impressed fans and critics with wryly knowing song titles like “Future Me Hates Me” and “Expert In A Dying Field” — catchy, instant-classic turns of phrase that capture the personal and ladder up to the universal. But Stokes’ intentional deconstruction and rebuild of her relationship to writing has resulted in a total renewal. Her songwriting has achieved startling new depths of insight and vulnerability, making Straight Line Was A Lie the most sharply observant, truthful, and poetic Beths project to date.

It’s immediately clear how far inward Stokes looked on the stripped-down, intensely personal “Mother Pray For Me.” Over plaintive finger-picked guitar, Stokes’ voice is childlike in its wistful plea for connection. “I cried the whole time writing it,” Stokes says. “It's not really about her, it's about me — what I hope our relationship is, what I think it is, what it maybe actually is, and what I can or can't expect out of it.” Reckoning with the lives your parents have led, and their mortality as they shift from guardians to full human beings, is bracing. The song is so moving because few people can look this in the eyes until there is no choice. How do you see your parent as someone who did their best, when it might not have felt like enough?

Cementing the album’s aharmonic theme is a loopy analog clock design by Lily Paris West, who also provided the artwork for 2022’s Expert In A Dying Field. West’s “wonky clock” plays right into The Beths’ notion of nonlinear progression and the machine-like ways in which bodies work (or don’t, as in Stokes’ case, amidst physical and mental health struggles). “The clock is always back in the same place, it's kind of a broken machine as well,” Stokes says. “The body and brain are these complex, complicated machines, ever-changing. Even when functioning in a less-than-optimal state, they're still amazing. But I’m still prone to completely dismiss that and see only the worst.”

Meanwhile, fans who have followed The Beths’ since their 2018 debut Future Me Hates Me will fall in love at first listen with the band’s latest title track. A clear-eyed, hook-stacked mission statement for The Beths’ new chapter, “Straight Line Was A Lie” is a Flying Nun-shaped instant anthem with a punchy, Salad Boys-inspired sing-along chorus about non-linear progression: I thought I was getting better/ But I’m back to where I started/ And the straight line was a circle/ Yeah, the straight line was a lie. In many ways it is the album’s thesis, with each consecutive song building a case for the idea that life’s casual disappointments are something we might not overcome, but hopefully won’t succumb to either. Scars may not heal, and lives (or ecological sites like Oakley Creek from “Mosquitoes”) may not be fully rebuilt. In a world of absolutes, Stokes is interested in the particulars of life. “We were right in the middle of writing the album, and I was metabolizing everything," Stokes says of the album’s title track. "I had held onto this idea that I was making progress in my life and that I was going to be able to fix everything. Like, this is great. Things have been really dark, but I’m getting help and I can keep working and then I'll be in this good place. And it just felt like this rude awakening. It's not like everything went really terrible, but it just wasn't the reality.”

While Stokes felt a huge relief from taking an SSRI, she articulates the emotional trade offs on “No Joy,” which thunders in with Deck’s vigorous percussion and drops another classic Beths soundbite: This year’s gonna kill me/ Gonna kill me. Ironically, though, the stress Stokes sings about can’t touch her, thanks to her pharmaceutical regimen. "It's about anhedonia, which, paradoxically, was present both in the worst bouts of depression, and then also when I was feeling pretty numb after a year on my SSRI,” Stokes says. “It wasn't that I was sad, I was feeling pretty good. It was just that I didn't like the things that I liked. I wasn't getting joy from them. It's a pretty literal song.”

Stokes takes a more abstract approach to health and healing on the cheery “Metal,” where she grapples with dueling diagnoses of Grave’s and Thyroid Eye Disease and finds inspiration from Ed Yong’s book on animal senses, An Immense World. “Metal” finds The Beths at their peak, with its effortless meld of upbeat, sugar-rushing jangle-rock underpinning layers of pensive anxiety and optimism. “I was having all of these coexisting thoughts — feeling like my body's like a machine that's breaking down but feeling really incredulous that it exists at all,” she says. “I was like, the human body is amazing. Life is amazing, and yet...”

Fleshwater

Holding Absence

This Is Holding Absence -

GWAR

THE RETURN OF GOR GOR ALBUM OUT NOW! TYRANT KING MUSIC VIDEO OUT NOW!

TICKETS TO OUR TOUR AVAILABLE NOW!

https://linktr.ee/GWAR

Teen Mortgage

Garage punk two piece Teen Mortgage climbed out of Washington DC's primordial hardcore soup in 2017. Drenched in the left - over fuzz and sludge of their local scene, the duo quickly bulldozed their way to a regional reputation after assaulting the publics' ears on incessant east coast tours and opening for notable bands such as Ron Gallo, Surf Curse, Big Business, Alex Lahey, The Chats, Bass Drum of Death, JEFF The Brotherhood, Mike Krol, The Coathangers, etc.

In June 2019, Teen Mortgage sicced their ruthless EP "Life/Death" on the world through Brooklyn, NY's King Pizza Records. It has since sold out its limited cassette run and album cuts have earned sync deals with Vans Shoes, Evil Bikes, and Showtime series Shameless. The album also gained recognition as recipients multiple 2020 Wammies (The Washington Area Music Awards) for Best Punk Band and Best Punk Song for "Falling Down."

The Suicide MacHines

The Suicide Machines are a Detroit based punk group noted for weaving together styles extending from ska to hardcore. They have also explored pop music and have been able to successfully integrate it with their predominantly abrasive tone. Though they never achieved mainstream recognition they have developed a devoted following.

Show Me the Body

Show Me The Body (SMTB) was formed in New York City in 2009. They released "Yellow Kidney" independently in 2015 followed by the "SMTB" EP released via the Letter Racer Collective that same year. After signing with Loma Vista and releasing their debut album “Body War” in 2016, SMTB began touring the US and Europe. Upon returning home the band began a collaborative mixtape project called “Corpus 1” released in 2017. The mixtape featured a broad range of artists and friends who SMTB felt were comrades and innovators, marking the beginning of a community effort spearheaded by SMTB known as Corpus. In the same year, SMTB released a two song Ep called “Challenge Coin”, recorded at Electric Lady Land not far from where the band originated. Between the fall of 2018 and the beginning of 2019 SMTB produced and recorded three projects. All projects; "Grudge 2" by Dreamcrusher, "Machines Smoke" by Tripp Jones, and "Enemy" by Dog Breath, were released via Corpus. In 2019 SMTB presents their sophomore album, “Dog Whistle,” produced by Chris Coady, Show Me The Body, and Gabriel Millman (original drummer and in-house producer). Dog Whistle was written in Long Island City, Queens and recorded in Los Angeles California in the summer of 2018.

Bratmobile

Angine de Poitrine

https://youtu.be/2lUC8Gimxz8

Guttermouth

Guttermouth is an American punk rock band formed in 1988 in Huntington Beach, California and currently recording for Volcom Entertainment. They have released nine full-length studio albums and two live albums and have toured extensively, including performances on the Vans Warped Tour. They are infamous for their outrageous lyrics and behavior which are deliberately explicit, offensive and intended to shock, though usually in a humorous and sarcastic manner. This behavior has sometimes resulted in high-profile problems for the band, such as being banned from performing in Canada for a year and leaving the 2004 Warped Tour amidst controversy over their political views and attitudes towards other performers. In 2005 drummer Ty Smith left Guttermouth to focus on his new band Bullets and Octane and was replaced by Ryan Farrell. Bass player Kevin Clark departed the following year and founding member Clint Weinrich returned to the group. This lineup recorded the band's tenth album Shave the Planet, released in 2006 by Volcom Entertainment. The album found the band once again using their brand of humorous punk rock to poke fun at a number of subjects. Guttermouth continues to tour and perform in support of the album.

Mariachi El Bronx

Mariachi El Bronx IV out Feb 13, 2026!

Pre-save the album: https://ffm.to/mariachielbronxiv

Pre-order the vinyl (US): https://shop.thebronxxx.com/

Pre-order the vinyl (Int'l): https://atorecords.ochre.store/release/554586-mariachi-el-bronx-mariachi-el-bronx-iv

Foxy Shazam

www.foxyshazam.com

Sugar

Copenhagen based techno producer an dj, co-founder of Fast Forward Productions and Agency.

The Flatliners

The Flatliners’ career is a testament to perseverance and dedication. With a lineup that has never strayed from the original members who met as teenagers, the band has since logged countless miles on the road and amassed a dedicated legion of fans along the way.

Now approaching 15 years of hammering out bombastic tunes everywhere from dive bars to festival stages to European concert halls, The Flatliners hold fast to the DIY punk-rock ethos that has been at the band’s core since its genesis. The band came out swinging with youthful exuberance on their debut record, Destroy To Create, in 2005, and they’ve honed their anthemic style with each subsequent release: The Great Awake in 2007, Cavalcade in 2010, Dead Language in 2013 and Division of Spoils in 2015.

But a frenetic touring schedule and prolific recording output takes its toll, and The Flatliners decided to spend the majority of 2015 off the road to recharge and spend time with friends and family. Striking a balance between home and road life is a difficult task, but frontman and guitarist Chris Cresswell concedes that it’s a necessary one.

“That’s what we’ve been in search of for probably the last seven years. We noticed it in ourselves, and that’s what we’re really striving for now,” he says. “We have a lot of people in our lives that are super supportive of what we do, and we’re supportive of each other.”

The downtime has proved to be a beneficial move for the band, and despite them laying low there was still plenty going on behind the scenes. Early on in 2015 the guys found themselves without the familiarity of the jam space they had inhabited for nearly a decade—four walls that had been the incubator for hundreds of songs and uninhibited creativity. Several months were spent renting rooms wherever they were available before the band was able to settle into a new space, but the guys did their best not to let the upheaval hinder their burgeoning roster of new material. Borne out of that chaos was Nerves, a two-song EP released on October 28, 2016. The recording, The Flatliners’ first on Dine Alone Records, features the battlecry stomper “Hang My Head” and ever-so-slightly more subdued yet equally powerful “Mud,” both of which Cresswell says are a taste of what’s to come on The Flatliners’ forthcoming full length, due out sometime next year.

“We’ve been working hard to refine what we do. Nerves is the appetizer,” he explains. “We definitely wanted to lead with songs that sound like the band people know already but also give a good indication of where we might end up going.”

The poignant tracks are connected in their examination of the state of human interaction—or lack thereof—in today’s tech-obsessed society.

“Those two songs in particular are about trying to keep up with life around you but also wading through the potential bullshit of people thinking that the internet is more important than their friends,” Cresswell explains. “It’s become a thing where it’s kind of inevitable that you’re fighting for people’s attention now, whether you’re a band or an individual, and there’s not as much value placed on face-to-face human interaction as there is in elevating the profile.”

Nerves offers a satisfying stop-gap to satiate fans until The Flatliners release their next album, and it also serves as a capstone for a year of newfound creativity. As the group’s steadfast members reach milestones in their personal lives and learn from each new experience they weather as a unit, Cresswell looks forward to what still lies ahead.

“It feels like we’re onto something, and it’s exciting for a band to be 15 years into their existence and have this. It’s a refreshing thing.”

División Minúscula

Slothrust

SLOTH-RUST

"I Promise" out now: http://ffm.to/ipromise-ep

Upcoming shows: https://linktr.ee/slothrust

MacSeal

Melt Banana

Chat Pile

Throughout parts of the mid-western United States lie towering mounds of the waste residue

from early 20th Century lead mining operations. Comprised of what is known as "chat," these

hills of toxic, metallic dust dot the countryside as if they were headstones for communities

destroyed by industrialization such as Picher, Oklahoma. These effigies would come to be the

namesake for the Oklahoma based band, Chat Pile, whose grotesque and pummeling brand of

noise rock has managed to terrorize listeners worldwide in only a matter of months.

Intent on raising as much havoc as possible, Chat Pile was spawned from the bowels of the

OKC underground music scene in February of 2019. Consisting of Raygun Busch (vocals),

Luther Manhole (Guitars), Stin (Bass), and Captain Ron (Drums), the quartet brings with them a

sludgy and starkly nihilistic take on noise rock. Channeling everything from the oppressive

sludgy beat downs of Godflesh, the vulgar absurdity of The Jesus Lizard, and the rebellious,

post-modern experimentation of Sonic Youth, the works of Chat Pile are bleak, brutal and

genuinely terrifying.

Few bands have a level of self-understanding as Chat Pile. Despite the infancy of the project,

Chat Pile continues to be a standout among the sea of D.I.Y. music projects to come out in

recent memory. Their brand of crass, crushing, and poignantly cynical noise rock fills an

otherwise unaccounted for niche in today's underground music landscape.

- Evan Mester

Good Riddance

Good Riddance is a hardcore punk band from Santa Cruz, California which was formed in the early 1990s. The band grew out of California’s vibrant surfing and skateboarding culture and was influenced by such bands as Black Flag, The Adolescents, TSOL and Bad Religion as well as East Coast bands like Sick Of It All and the Cro Mags.

The group’s early years were spent going through line up changes, playing local and regional shows and recording demos as they developed their sound. Early tours and a 7” record release on Little Deputy Records in 1993 (“Gidget”) brought the band widespread interest and overwhelmingly positive reviews.

In 1994 the band caught the interest of Fat Wreck Chords who released the “Decoy” 7″ later that year while the band hit the studio with producer Ryan Greene to record their first full length album “For God And Country” which was released in early 1995.

Over the next decade Good Riddance went on to release seven full length albums and an EP for Fat while crisscrossing the globe dozens of times on tour. The band developed a dedicated and passionate fan base through their constant touring and politically charged music. Good Riddance began donating a portion of their record sales to various organizations and doing whatever they could to raise awareness about the causes they felt strongly about.

In May 2007 Good Riddance played their final show, fittingly in their hometown of Santa Cruz. The members then went their separate ways to raise families and pursue careers. Though there have been numerous offers to reform and play in the five years since, the band has turned them all down.

Brian Fallon

Brian Fallon returns to North America this spring for his first full-band tour in two years. With his band The Howling Weather in tow, Fallon will play 18 shows in the U.S and Canada and 25 dates in the UK and Europe this spring. Additional tour dates to be announced in the new year.

The tour is in support of Fallon's new solo album LOCAL HONEY, out March 27th. LOCAL HONEY marks Fallon’s third solo album and first new LP in two years, following 2018’s critically acclaimed SLEEPWALKERS. Produced by GRAMMY® Award-winner Peter Katis (The National, Death Cab for Cutie, Interpol, Frightened Rabbit), the album sees the New Jersey-based singer-songwriter melding myriad strains of American music with contemporary consequence, ambitious energy, and seemingly infinite lyrical power. Songs like “21 Days,” “Horses,” and the crystalline “Hard Feelings” offer a deeply personal glimpse into Fallon’s everyday world, revealing universal truths through hard-earned insight and unflinching honesty.

“Every single song is about right now,” says Fallon. “There’s nothing on this record that has to do with the past or even the future, it has to do with the moments that are presented and things that I’ve learned and I’m finding in my day to day. This record is 100 percent about the day today. It’s not about these glorious dreams or miserable failures, it’s about life and how I see it.”

Preorder LOCAL HONEY: https://orcd.co/localhoney

Algernon Cadwallader

Strike Anywhere

Remember Sports

Good band, NEW name

https://www.remembersports.com

DeathbyRomy

ON TOUR THIS APRIL / MAY 2025 ❌❌❌🖤 tickets here —> https://linktr.ee/deathbyromy

Soul Glo

Since their formation in 2014, philadelphia’s SOUL GLO have used hardcore punk music as a catalyst to speak about the intersectionality of gender and race in the American political landscape, and the black lived experience. SOUL GLO’s lyrics are uncompromising, written to raise awareness of social justice issues and designed to make you look inward. The band is known for their political lyrics on fraught topics like gender, race, and the Black experience in America and use their platform to raise awareness of pressing social justice issues.

Frankie & The Witch Fingers

Frankie and the Witch Fingers are a rock band from Los Angeles known for their high-energy and frenetic performances. Their latest album, Data Doom, delves into themes of technological dystopia, systemic rot, creeping fascism, and the erosion of humanity. The band's sound has evolved into a darker strain, incorporating influences from proto-punk, German progressives, and funk fusionists. They have shared the stage with notable acts such as Kikagaku Moyo, Ty Segall, Oh Sees, Cheap Trick, and ZZ Top. Data Doom aims to solidify their status with its intense and socially charged rock sound.

DEADLETTER

An international artist from the UK.

Pretty Girls Make Graves

Gurriers

Described by the Irish Times as “raw as a butcher's cut, and just as fresh”, Gurriers’ raging combination of punk, noise, alt-rock and shoegaze along with singer Dan Hoff’s intense socio-political lyricism, has been championed across specialist radio and press in the UK, Ireland and beyond. Cutting their teeth supporting acts like Enola Gay and Goat Girl, Gurriers have fast established themselves as one of the most furiously exciting bands to come out of Ireland these last few years. The intensely heavy groove of new single 'Des Goblin' erupted into being following a string of critically acclaimed singles the last year, the most recent 'Nausea' dubbed by DIY magazine 'a slice of unforgiving punk' which followed the release of 'Sign Of The Times' and 'Approachable'. The last year has been a riot with a stack of UK and Dutch club shows and a Summer full of festivals across Europe whilst Gurriers have since grown into a mesmerising tour de force on stage. Ahead of their packed shows at The Great Escape in May NME stated “You know something special is afoot when an act continues to sell out shows off the back of only two singles'

Pil

Pil skriver dansksprogede sange om de skæve følelser i et opløftende og legende popunivers. Ensomhed og ulykkelig kærlighed beskrives så præcist som muligt, så lytteren kan mærke, der er noget på spil og samtidigt kan nikke genkendende til de udpenslede, pinlige scenarier. Pil udsendte i maj 2022 debutalbummet ' Kom Vi Flyver, Siger Du', som er forlængelse af det univers, hun har tryllebundet sine lyttere med, og som hun i 2021 vandt DR's KarriereKanonen takket være. Pil har gennem tiden allerede samarbejdet med etablerede navne som Andreas Odbjerg, Hjalmer og Burhan G og varmede i november 2022 op for Jada i Royal Arena. I januar 2023 udsendte hun singlen 'Dronning Af Månen', og optrådte i X Factor finalen, hvorefter hun fik sit første Spotify Top 50 hit med 'Dronning Af Månen'. Pil har siden udgivet singlerne 'Dér' feat. Wads.png og 'Andre Venner' og spillet på en lang række af landets største festivaler bl.a. Roskilde Festival, Tinderbox, Northside og Smukfest. Pil har i efteråret 2023 spillet live i bl.a. Vild Med Dans og optrådt til P3 Guld, hvor hun også modtog prisen P3 Talentet. Den 9. februar 2024 udsendte hun sit 2. studiealbum, 'Hvis Du Tør At Drømme'.

Panic Shack

If there's one thing Panic Shack know, it's how to have a good time. Comprised of Sarah, Meg, Romi, Em and Nick, the band formed in 2018 as a middle-finger to the “members-only club” atmosphere of indie and punk scenes – not just because they’re male-dominated, but because they make playing music seem out of reach or, even worse, boring.

This carefree approach gives Panic Shack’s music the same effect as popping a bottle of Prosecco – explosive, intoxicating, and delightfully chaotic. With barely any music available online, they built a word-of-mouth following off the back of their live shows, which have been praised for fusing “thrashy early LA-style punk with choreography that owes something to the Go-Go’s and Iron Maiden all at once” (The Guardian).Released in 2022, their acclaimed Baby Shack EP bottled the lightning they have on stage, cementing their ability to blend killer hooks with a contagious sense of humour. Released in July 2025, Panic Shack’s self-titled debut album represents a serious level up. It finds the band expanding their gutsy punk sound into fuller territory, packed with vocal harmonies, synths and electronic experimentation.

Arm's Length

Saturdays at your place

Saturdays At Your Place is an emo band from Kalamazoo, MI. With the release of ‘always cloudy’, in 2023, they caught the attention of a wider audience outside of their hometown. The six song EP showcased a more refined creative direction and sound that has left fans eager to hear what’s next from the young three piece. Their intimate lyrics combined with heavy hitting instrumental hooks and cleverly placed twinkly guitar parts creates a uniquely personal sound that has come to define the band.

Worry Club

Worry Club is a Chicago-based band started by Chase Walsh (singer/songwriter) in January 2020. In just under four years, the band has amassed over 12 million streams. Worry Club has built an engaged and devoted fan base through a discography of singles that quickly found their audience online during the pandemic and the collective's staunch advocacy for mental health awareness. In 2023 they released their third EP, "All Frogs Go to Heaven", which received a long list of editorial playlists across DSPS, and coverage from notable press outlets. 2024 has started off with their most recent release, "I Suck" which is about falling behind in relationships and admitting that you suck. It's about taking the easy way out and admitting you suck instead of taking real accountability. They have attracted high interest from multiple record labels, and have plans to release music and tour as much as possible.

Dead To Me

Sincere Engineer

Ben Quad

Emo and butt rock band.

Ryan Adams and the Cardinals

Greet Death

Daisy Grenade

These two gorgeously disturbed girlies make up the iconic duo “Daisy Grenade” - a power-punk bubble grunge band that serves a punch with a lip-glossed kiss on the side. With Pete Wentz (as in THE emo prince of our generation) as a mentor and the collaboration of The Ready Set for their sophomore EP, CULT CLASSIC, they turned their unapologetically feminine angst into sickeningly catchy, morbidly worded bubblegrunge bops that are dripping out of a saccharine shell.

STOMACH BOOK

MURPHYS LAW

Original New York Hardcore !

for booking:

Stormy@leavehomebooking.com

The Callous Daoboys

“The Callous Daoboys are easily one of the catchiest and extraordinary hardcore bands of the last few years. [A] fresh young band giving hope that the mathcore scene won’t die off.” – Exclaim! The recklessly free-spirited collective from Atlanta, Georgia, revels in high-strung extremity, music that’s somehow dense, impenetrable, and chaotic yet confusingly inviting. An undeniable life-affirming glee is palpable as each song deliriously swerves across stylistic lines.

Glixen

This Is Lorelei

A long running songwriting outlet for New York-based Nate Amos, known for his work as one half of the critically acclaimed duo Water From Your Eyes and the duo My Idea, which he leads with Lily Konigsberg, This Is Lorelei began in 2015 while Amos lived in Chicago. He cut his teeth producing hundreds of records for collaborators in the DIY scene there, steadily amassing a vast catalog of Lorelei EP’s and albums along the way, all produced, performed, and engineered by Amos. While originally a home for Amos’ most experimental compositions, the project has evolved to seamlessly thread a needle through indie, electronica, country, and more, operating in an almost diaristic manner. Amos grew up singing harmony and performing in his father Bob Amos’ bluegrass band, developing sensibilities that come to the foreground in his work under the Lorelei moniker. Some of his earliest memories are of songwriting, picking up a guitar in the 5th grade, and as he remembers “I was always trying to start a band but wasn’t around anyone who was interested in doing more than coming up with a name and making an album cover until high school.”

Kiwi Jr.

Smash cut to Kiwi Jr.’s third album, Chopper, overseen by trusted pilot Dan Boeckner (Wolf Parade, Handsome Furs) on storied Sub Pop Records. Turning nocturnal with necks mock turtle, our Local Kiwi Jr. takes neon flight off the digital cliff, like The Monkees starring in Blade Runner; like Michael Mann directs Encino Man. Ten songs with synth shimmer, zen gongs with yard strimmer. The signs along the highway read “LESS BAR, MORE NOIR AHEAD.” Ah, those late summer, Joe Strummer, Home on the Range Rover Blues. KIWI JR is Jeremy Gaudet vocals and guitar, Brian Murphy guitar, Mike Walker bass, Brohan Moore drums, and everybody played a little bit of keyboard.

Joey Valence

Jejune

Nobro

Montreal's new-age punk outfit NOBRO debut full-length record Set Your Pussy Free via Dine Alone Records, a caustic, celebratory, glorious party-punk firework show. It’s a record about the ecstatic pursuit of personal escape and liberation even as the walls are closing in, a 21st century power-punk analog of Born To Run that rages against modern life’s restrictive pressures and dares them to a game of chicken. “As a musician or artist or even a woman, you have to throw off the weight of societal pressures and expectations, especially as you get older,” says vocalist and bassist McCaughey. “You have to take risks and chances.” Produced by Dave Schiffman, Set Your Pussy Free is the culmination of years of work, hundreds of shows, and thousands of miles since the band’s creation in 2014. McCaughey, Carbonneau, Bourdage, and Dion have been building NOBRO into one of the most fierce and exciting bands in Canada. Listeners big and small have been taking note: Iggy Pop played their track on his BBC Radio 6 show and the band has supported blink-182, PUP, Alexisonfire, Fidlar, The OBGMs, & soon Flogging Molly. They're just getting started, don't say we didn't warn you!

Haywire

Violet Grohl

PLOSIVS

ASAVA

The Iron Roses

Brae

Almost There But Not Really

Frank Carter & the Sex Pistols

Sex Pistols featuring Frank Carter

Whispers (TH)

The Paradox (US)

Aim High (SC)

Riot Fest 2026 @ Douglass Park

Riot Fest 2026 @ Douglass Park

Flytjendur