Gruesome’s new rip-roaring record, Silent Echoes, so thoroughly beats the listener into submission that Merriam-Webster might have to devise a term far more potent than “bludgeoning,” “battering” or “abusively punishing.” Read my review of the record courtesy of Post-Trash.
Read my review of Laura Jane Grace & In the Trauma Tropes’ new record, Adventure Club, in the July issue of Music Connection or on its website.
Rather than replicate the early sound of their ’90s-era triumph, Fixation on a Co-Worker, Deadguy opts for hooks, guitar texture and a throwback production sound that digs deep on their first studio record in three decades. Read my Treble review.
The best compliment a young band can receive comes in the form of a query delivered with a tone of disbelief: “Is this really your first record?” Ossuary, with their searing Abhorrent Worship, deserve such a response—and I bestow them with it in my latest contribution to Post-Trash.
Toiling away at creating a style all their own for over a decade, the latest LP by Richmond, VA’s Keep exudes a sense of freedom in their doomsday shoegaze sound. Read my FLOOD review of Almost Static.
Singaporean indie rockers Subsonic Eye issue a jangly fifth record that proselytizes the beauty of the natural world, and provides hope with deliriously catchy tunes that channel ’90s groups like Superchunk and GBV. Read my FLOOD review.
Australian band King Gizzard & the Lizard Wizard exhibit a growing comfort performing with orchestra musicians on Phantom Island, resulting in a bolder, brighter, more engaging, and more direct album than its predecessor. Read my FLOOD review here.
Nearly a quarter-century after Thomas Fec (aka Tobacco) introduced his no-holds-barred, sensory-overload project Black Moth Super Rainbow, it’s still as zany, colorful, vibrant—and perhaps even vital—than ever. Read my Treble review.
If you’re still mystified as to why hardcore has made such a fierce comeback in the last five years, this new Drain song should make it crystal clear. Read my Treble review of the band’s brand-new tune, “Nights Like These.”
Scowl’s pop-meets-hardcore sound truly jells on their sophomore outing, Are We All Angels, and it’s as smart as it is satisfying. Read my review as part of Treble‘s 40 Best Albums of 2025 So Far feature.
The Bad Penny (beta) 