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Joyce Manor are California pop-punk legends and I Used To Go To This Bar is this epochal band operating at the top of their game. They continue to deliver relentlessly satisfying rock music in a manner that makes it look simply effortless. The Torrance, California-hailing trio of Barry Johnson, Chase Knobbe, and Matt Ebert are at a point in their career where their position as one of the most beloved rock bands is a foregone conclusion. Their seventh album finds the group continuing to find rich new veins to tap in their short-and sweet songcraft without losing an ounce of bite that gained them such repute in the first place. I Used To Go To This Bar further situates Joyce Manor in the rich lineage of their influences and inspirations. Think AFI"s rapid-fire burn, Weezer"s indelible power-pop acumen, and the dusky emotionalism of The Smiths while further establishing them as leading lights in the current rock landscape. The fresh burst of inspiration that fuels I Used To Go To This Bar proves that Joyce Manor are far from content to rest on such laurels, moving forward with their sound and style in a way that reminds you of how they got to this point in the first place. Catch them live at Coachella 2026.

Living Targets, the 2002 Beatsteaks album, available on ash grey colored vinyl.

Living Targets, the 2002 Beatsteaks album, available on ash grey colored vinyl.

The classic 1988 NOFX album, available on vinyl. First time pressed in Europe on black and colored vinyl. Recorded in 88 by Brett Gurewitz in 3 days at west beach recorders. We we"re all stoked cause we got to meet Brett from bad religion. He asked us if we wanted to put the record out on epitaph, but we wanted to put it out ourselves. What a mistake. It took almost a year to sell 1500 copies at 4 bucks a piece, and we only got paid for half. We ended up giving the record to epitaph like 5 years later with a new cover. I wouldn"t say this record sucks, but it"s still pretty hard to listen to.

The classic 1988 NOFX album, available on vinyl. First time pressed in Europe on black and colored vinyl. Recorded in 88 by Brett Gurewitz in 3 days at west beach recorders. We we"re all stoked cause we got to meet Brett from bad religion. He asked us if we wanted to put the record out on epitaph, but we wanted to put it out ourselves. What a mistake. It took almost a year to sell 1500 copies at 4 bucks a piece, and we only got paid for half. We ended up giving the record to epitaph like 5 years later with a new cover. I wouldn"t say this record sucks, but it"s still pretty hard to listen to.

Joyce Manor are California pop-punk legends and I Used To Go To This Bar is this epochal band operating at the top of their game. They continue to deliver relentlessly satisfying rock music in a manner that makes it look simply effortless. The Torrance, California-hailing trio of Barry Johnson, Chase Knobbe, and Matt Ebert are at a point in their career where their position as one of the most beloved rock bands is a foregone conclusion. Their seventh album finds the group continuing to find rich new veins to tap in their short-and sweet songcraft without losing an ounce of bite that gained them such repute in the first place. I Used To Go To This Bar further situates Joyce Manor in the rich lineage of their influences and inspirations. Think AFI"s rapid-fire burn, Weezer"s indelible power-pop acumen, and the dusky emotionalism of The Smiths while further establishing them as leading lights in the current rock landscape. The fresh burst of inspiration that fuels I Used To Go To This Bar proves that Joyce Manor are far from content to rest on such laurels, moving forward with their sound and style in a way that reminds you of how they got to this point in the first place. Catch them live at Coachella 2026.

SPIRIT!, the third LP from HUNNY, is about embracing the weird-an album born from uncertainty and built on instinct. It"s a testament to breaking free, starting over, and tuning out the noise. Now the sole project of longtime frontman Jason Yarger, HUNNY has shed its past shape to become something more fully itself. SPIRIT! doesn"t reinvent the wheel so much as keep it spinning forward. Across 15 tracks, the album-co-produced by Yarger and former bassist Kevin Grimmett with drums by former drummer Joey Anderson-leans into the sounds that have always lit HUNNY"s fuse: hooky post-punk, gleaming synths, and shout-along choruses praised by Alternative Press, Kerrang!, and Rock Sound. But it also pushes further-into abstraction, playfulness, and freedom. It"s the latest turn for HUNNY, a band long celebrated for shapeshifting through genres and decades with style on fan-favorite releases like Yes. Yes. Yes. Yes. Yes. (2019) and new planet heaven (2023)-always evolving, yet unmistakably themselves. That dynamic energy carries into their high-voltage live show, sharpened on tours with Joywave, Mom Jeans, Waterparks, and State Champs.

Sunburst vinyl version of “Make Metal Royal Again” (previously released August 15th, 2025 via Reaper Entertainment), HAMMER KING once again raise their banners high: the throne of power metal is theirs to claim. Following the chart-breaking success of their last two records – “Kingdemonium” (#17 DE) and “König und Kaiser” (#16 DE) – the German quartet returns in 2025 with even more grandeur, might, and majestic songwriting. Produced by Charles Greywolf (Powerwolf) and Titan Fox V, and mixed & mastered by Jacob Hansen (Amaranthe, Volbeat), the album delivers ten powerful new tracks and a surprise bonus cover. With “Danger Zone”, the band pays a thunderous, metallic tribute to pop culture for the very first time. From anthemic epics like “For Crown And Kingdom” to the cinematic grandeur of “Hoheitsgebiet” and the touching ballad “Schlaf Kaiser schlaf”, HAMMER KING offer a full royal banquet of sound and spirit. Introducing new drummer Count Shandorian, whose precision and creative drive elevate the band’s sound even further, Make Metal Royal Again marks a new peak in the group’s journey. The magnificent artwork by Péter Sallai (Powerwolf, Sabaton), inspired by The Last Supper, captures the album’s core themes: power, identity, and loyalty. This is not just an album – it’s HAMMER KING’s metal manifesto for a new golden age.

With Born From Chaos, DYMYTRY PARADOX make it clear: they are ready to claim their place among the leading forces of modern metal. Each of the nine tracks is a powerful statement on power, pride, and the destructive cycles that continue to shape our world. From driving anthems like “Red Sky Remains” and “War Beneath My Skin”, to the explosive single “Sun of a Broken God”, and epic moments like “Overmind”, the album combines crushing riffs, haunting vocals, and relentless intensity that immediately grabs the listener. DYMYTRY PARADOX demonstrate with every song their ambition to push boundaries and make a lasting mark on the scene. Born From Chaos is more than an album – it’s a declaration, a warning, and a statement: the time of DYMYTRY PARADOX has begun.

On December 19, 2025, HAMMER KING will release a very special double edition, closing the circle of their band’s history while opening a new chapter. To mark the 10th anniversary of their debut album “Kingdom Of The Hammer King”, the album returns as a freshly remastered edition. The original artwork has received a modern twist, and thanks to Alexander Ecker’s brilliant remastering, the album now sounds warmer and more present than ever – without losing the charm and magic of the original. But that’s only half of the royal celebrations: with “Hammer King X – Alive In '25”, HAMMER KING release their very first live album! Recorded in the summer of 2025, it captures the raw energy and magic of their acclaimed shows – including performances at Summer Breeze, Bongert Open Air, Formosa Bierfest, and their traditional summer homecoming at the 7er Club Mannheim. Of course, the vinyl edition is also included: the anniversary edition is available as a double album on CD and vinyl, making it the perfect gift for all metalheads.

In ihrer kurzen gemeinsamen Zeit schufen Albert Ayler und Don Cherry ein Musikwerk, das wirklich im Moment existiert. Ohne Rücksicht auf Regeln und ästhetische Grenzen spielten sie, was sie fühlten, und nahmen Fehler und falsche Wendungen als Teil der Erfahrung des künstlerischen Schaffens im Moment an. Auch nach über sechzig Jahren klingen diese Aufnahmen noch genauso kraftvoll und lebendig wie damals, als sie entstanden sind. Dieses 4xLP-Boxset enthält vier Aufnahmen aus dem Herbst 1964, darunter Live-Auftritte im Jazzhus Montmartre in Kopenhagen und eine VARA-Radio-Session in den Niederlanden. Der Ton wurde remastered und zum ersten Mal auf Vinyl zusammengestellt. Albert Aylers bedeutendes Free-Jazz-Quartett bestand aus Don Cherry an der Kornette, Gary Peacock am Kontrabass und Sunny Murray am Schlagzeug. Mit ausklappbarem Insert mit ausführlichen Liner Notes von Brian Morton.

Obwohl "Suffer" lediglich eine Laufzeit von 26 Minuten hat, war die Platte für Fat Mike, den Sänger und Bassisten von NoFX, in Bezug auf das amerikanische Punk-Revival der Neunziger "das Album, das alles veränderte". Tatsächlich bedeutete der dritte Langspieler der Band 1988 nicht nur den internationalen Szenedurchbruch für Bad Religion, er schuf auch die Grundlage für den massiven Erfolg des Epitaph-Labels, das mit The Offspring, NoFX, Rancid und Pennywise just jene Gruppen unter Vertrag nahm, die in den Neunzigern mit Melodic Hardcore, Pop-Punk und Skatepunk für Furore sorgten. "Suffer" bot für die damalige Zeit etwas völlig Neues: Schnelle, aber sehr melodische Songs mit mehrstimmigen Gesängen und Hintergrundchören sowie abrupte Rhythmuswechsel; hinzu kamen der klare Gesang Greg Graffins, der durch eine exakte Aussprache und Metrik gekennzeichnet ist, sowie intellektuell inspirierte Lyrics. Bad Religion spielten die 15 Songs von "Suffer" in der Originalbesetzung - Greg Graffin (Gesang), Brett Gurewitz (Gitarre), Greg Hetson (Gitarre), Jay Bentley (Bass), Pete Finestone (Schlagzeug) - im April 1988 im Westbeach Recorders-Studio in Hollywood ein. Das Album wurde von Brett Gurewitz und Donnell Cameron in acht Tagen aufgenommen und gemixt.

Who better to help you celebrate that most wonderful time of the year than holiday favorites Bad Religion? Tackling eight chestnuts in their classic punk rock style. From "White Christmas" with its nod to pioneers The Ramones, to the glorious choirboy intro to "Hark! The Herald Angels Sing," Christmas Songs is the record you need to get your holiday household"s toes tapping. First time ever double sided, 45 RPM.

"No Control" is one of the albums that helped bridge the band"s more reckless earlier direction with their more focused (but just as pissed-off) "90s-era. The strength of such cuts as "Big Bang," "Automatic Man," the title track, and "I Want to Conquer the World." No Control is one of the bands best all-time albums and an archetypal blueprint for the genre.

"Straight up, no one is having more fun than me when we"re up there!" beams DRAIN frontman Sammy Ciaramitaro, whose face is perpetually glued in a grin. For anyone that"s seen the Santa Cruz hardcore firebrands live, there"s no mistaking that fact. DRAIN isn"t just a good time as Sammy presides over the chaos of stage diving bodies and mic-grabbing frontline; it"s a party-and everyone is invited. (Dolphin shorts and boogie boards are optional but encouraged.) "The vibe of it is, enthusiastic, hectic," says the vocalist. "Five people deep singing and stagediving, then kids going berserk behind that. It"s a great vibe and I think people pick up on that." That, in a nutshell is DRAIN. The trio inject a serious dose of relatability-not to mention catchiness-into hardcore"s penchant for toughness and brutality on their new Epitaph album, ...IS YOUR FRIEND. Ciaramitaro"s desperate, snotty howl rides roughshod over thrash-leaning riffage as rhythms bounce in a big way. If you"re picturing the Pacific Ocean waves that rise and fall along the coastal town, occasionally violently so, you"re not far off.

"Straight up, no one is having more fun than me when we"re up there!" beams DRAIN frontman Sammy Ciaramitaro, whose face is perpetually glued in a grin. For anyone that"s seen the Santa Cruz hardcore firebrands live, there"s no mistaking that fact. DRAIN isn"t just a good time as Sammy presides over the chaos of stage diving bodies and mic-grabbing frontline; it"s a party-and everyone is invited. (Dolphin shorts and boogie boards are optional but encouraged.) "The vibe of it is, enthusiastic, hectic," says the vocalist. "Five people deep singing and stagediving, then kids going berserk behind that. It"s a great vibe and I think people pick up on that." That, in a nutshell is DRAIN. The trio inject a serious dose of relatability-not to mention catchiness-into hardcore"s penchant for toughness and brutality on their new Epitaph album, ...IS YOUR FRIEND. Ciaramitaro"s desperate, snotty howl rides roughshod over thrash-leaning riffage as rhythms bounce in a big way. If you"re picturing the Pacific Ocean waves that rise and fall along the coastal town, occasionally violently so, you"re not far off.

Living Targets, the 2002 Beatsteaks album - available for the first time on colored vinyl - and for the first time on vinyl since its release in 2002.

Smack/Smash, the band"s 2004 platinum selling album containing the singles Hand in Hand, Hello Joe and I Don"t Care As Long As You Sing.

The World Is a Beautiful Place & I Am No Longer Afraid to Die return October 17 with Dreams of Being Dust, an album that finds the Connecticut-formed collective plumbing the depths of emotional ruin and emerging with their most scorched, unrelenting work yet. Co-produced by guitarist Chris Teti (Fiddlehead, Anxious) and Greg Thomas (END, Misery Signals), the album exchanges the band"s usual sprawl for something more serrated-folding djent-like heft and post-hardcore volatility into their post-everything DNA. Dreams of Being Dust is the band"s fifth studio album, and follows up their well- received 2021 album, Illusory Walls, which arrived as their "heaviest, proggiest, most audacious release to date" according to Stereogum. Tackling complex social and political themes like religion and capitalism, Pitchfork praised its scathing indictments as "fuming with resentment for the ruthless greed and self-interest fueling societal collapse. If Illusory Walls was their grand reckoning, Dreams Of Being Dust is the aftermath: raw, furious, alive. But even amid the chaos, the band"s core remains intact-a belief in community, resistance, and making sense of the world through sheer volume and vulnerability. TWIABP have always blurred the lines between hope and despair, and here, that duality feels sharper than ever. Now a decade in, the band- David F. Bello (vocals), Chris Teti (guitar/ vocals), Joshua Cyr (bass), Katie Dvorak (synth/vocals), Steven K. Buttery (drums), and Anthony Gesa (guitar/ vocals)-deliver a message that sounds less like a eulogy and more like a rallying cry.

Nevertel, are set to release their Epitaph Records debut album, entitled Start Again. The Florida-based trio - comprised of vocalist Jeremy Michael, rapper/guitarist/producer Raul Lopez, and guitarist Alec Davis - are a rare breed in an era saturated with genre tags and algorithm-chasing playlists. Drawing on a cocktail of nu-metal nostalgia, hip-hop grit, and EDM adrenaline, their sound feels less like a blend and more like a carefully controlled detonation. It"s a vision honed through years of DIY hustle and an unshakable commitment to quality over trend. Bonded in adolescence over music and late-night gaming sessions, the trio turned those formative obsessions into a full-fledged project that has steadily built a digital groundswell. From self-releasing two fulllength albums and a pair of EPs to amassing over 1.5 million streams per week, Nevertel"s trajectory reflects a slow burn in a culture obsessed with instant virality. Citing touchstones like Linkin Park and Bring Me The Horizon, the band pays homage to the titans of their youth while shaping something unmistakably their own: emotionally raw lyricism, razor-edged riffs and breakdowns. It"s equal parts catharsis and chaos. Now signed to Epitaph Records as of 2023, Nevertel are poised to enter their next chapter with momentum at their backs.

"Horizons/West" (2025) completes the thematic arc begun with "Horizons/East" (2021), pairing personal reflection with sweeping sonic ambition. Self-produced by the band, engineered by guitarist Teppei Teranishi, mixed by Scott Evans, and mastered by Matthew J. Barnhart, "Horizons/West"balances cinematic tones with spacious atmosphere. Teranishi calls it "less dense," while vocalist Dustin Kensrue sees it as their first sequel-two halves of a larger emotional and political panorama. Blending post-rock textures from their earlier albums "Beggars" and "Major/Minor", with rhythmic complexity from "Horizons/East", the band sharpens its edge without losing nuance. Kensrue"s vocals shift from whisper to roar, anchoring meditations on perception, memory, and social influence. "Horizons/West" looks inward while never ignoring the larger world - urging listeners not to adopt beliefs, but to interrogate them. After more than two decades, Thrice continues building catharsis from chaos, and clarity from noise.

"Horizons/West" (2025) completes the thematic arc begun with "Horizons/East" (2021), pairing personal reflection with sweeping sonic ambition. Self-produced by the band, engineered by guitarist Teppei Teranishi, mixed by Scott Evans, and mastered by Matthew J. Barnhart, "Horizons/West"balances cinematic tones with spacious atmosphere. Teranishi calls it "less dense," while vocalist Dustin Kensrue sees it as their first sequel-two halves of a larger emotional and political panorama. Blending post-rock textures from their earlier albums "Beggars" and "Major/Minor", with rhythmic complexity from "Horizons/East", the band sharpens its edge without losing nuance. Kensrue"s vocals shift from whisper to roar, anchoring meditations on perception, memory, and social influence. "Horizons/West" looks inward while never ignoring the larger world - urging listeners not to adopt beliefs, but to interrogate them. After more than two decades, Thrice continues building catharsis from chaos, and clarity from noise.

Tallahassee"s Pool Kids are turning up the heat with Easier Said Than Done, their electrifying new album dropping September 26 via Epitaph Records. Kicking things off with the punchy, addictive lead single of the same name, the band showcases a sharpened edge to their signature blend of math rock intricacy and indie-pop charm. Following the critical success of their 2022 self-titled album-hailed by Paste, Stereogum, and Consequence-Pool Kids have been making waves on the road with the likes of Soccer Mommy, PUP, Joyce Manor, and most recently, Beach Bunny. Easier Said Than Done finds the band leveling up in every way, delivering explosive energy, emotional depth, and undeniable hooks that cement their place as one of the most exciting acts in indie rock today.

Tallahassee"s Pool Kids are turning up the heat with Easier Said Than Done, their electrifying new album dropping September 26 via Epitaph Records. Kicking things off with the punchy, addictive lead single of the same name, the band showcases a sharpened edge to their signature blend of math rock intricacy and indie-pop charm. Following the critical success of their 2022 self-titled album-hailed by Paste, Stereogum, and Consequence-Pool Kids have been making waves on the road with the likes of Soccer Mommy, PUP, Joyce Manor, and most recently, Beach Bunny. Easier Said Than Done finds the band leveling up in every way, delivering explosive energy, emotional depth, and undeniable hooks that cement their place as one of the most exciting acts in indie rock today.

After a ten-year absence that left a palpable void in the hearts of millennial emo kids, MOTION CITY SOUNDTRACK are finally back-and yes, it"s everything we hoped for. The Same Old Wasted Wonderful World feels like coming home: a dizzying, emotionally articulate blast of guitar-laced pop-punk that reminds us why this band meant so much in the first place. It"s a sonic time machine, sure, but it never gets stuck in the past. Instead, it builds on it-older, a little bruised, but somehow more alive. Justin Pierre"s voice still wobbles gloriously between a scream and a sigh, only now it carries the weight of experience, not just anxiety. Rather than reinventing themselves, MOTION CITY SOUNDTRACK double down on what they"ve always done best: big hooks, bigger feelings, and that perfect tightrope walk between chaos and control. Tracks like "Particle Physics" (with Patrick Stump of Fallout Boy) and "Your Days Are Numbered" (featuring Mat Kerekes of Citizen) channel the kind of clarity that only comes after surviving your own worst years. In a world drowning in lazy nostalgia, The Same Old Wasted Wonderful World is a rare and welcome return that feels less like a reunion and more like a long-overdue continuation.

After a ten-year absence that left a palpable void in the hearts of millennial emo kids, MOTION CITY SOUNDTRACK are finally back-and yes, it"s everything we hoped for. The Same Old Wasted Wonderful World feels like coming home: a dizzying, emotionally articulate blast of guitar-laced pop-punk that reminds us why this band meant so much in the first place. It"s a sonic time machine, sure, but it never gets stuck in the past. Instead, it builds on it-older, a little bruised, but somehow more alive. Justin Pierre"s voice still wobbles gloriously between a scream and a sigh, only now it carries the weight of experience, not just anxiety. Rather than reinventing themselves, MOTION CITY SOUNDTRACK double down on what they"ve always done best: big hooks, bigger feelings, and that perfect tightrope walk between chaos and control. Tracks like "Particle Physics" (with Patrick Stump of Fallout Boy) and "Your Days Are Numbered" (featuring Mat Kerekes of Citizen) channel the kind of clarity that only comes after surviving your own worst years. In a world drowning in lazy nostalgia, The Same Old Wasted Wonderful World is a rare and welcome return that feels less like a reunion and more like a long-overdue continuation.

The hotly anticipated follow-up to 2007"s Horizons, Deep Blue raised the bar in every conceivable way. While maintaining the band"s uncompromising metallic-hardcore style at its core, it pushed into exciting new realms, drawing from a wider scope of influence, incorporating everything from anthemic pop-punk to bloodcurdling death metal. With improved musical abilities and a thoroughly inspired approach to songwriting, Parkway Drive has tied the music and lyrics together into one all-encompassing concept. "It"s basically about the search for truth in a world that seems to be devoid of that," says vocalist and lyricist Winston McCall, explaining the narrative running through Deep Blue. "The story is told through the eyes of a man who wakes up and realizes that his life is a lie and nothing he believes in is real. So he tries to find the truth within himself and his journey takes him to the bottom of the ocean and back again."

Vier Jahrzehnte, nachdem der Song das College-Radio erhellte und die bemerkenswerte Karriere von R.E.M. begründete, sendet „Radio Free Europe“ ein brandneues Signal aus. Angeführt wird diese 5-Track-EP vom ursprünglichen Produzenten der Band, Mitch Easter, der auch die letzten beiden Studioalben von R.E.M., Accelerate und Collapse Into Now, produziert hat. Angeführt wird die EP von einem bisher unveröffentlichten 2025er-Remix des GRAMMY-Gewinners Jacknife Lee (Taylor Swift, U2, The Killers, Weezer). Abgerundet wird das Set durch vier seltene Kassetten-Demos von 1981, darunter „Wh. Tornado“ und ‚Radio Free Dub‘, die beide ihr digitales Debüt feiern. Die Radio Free Europe 2025 EP wird digital und als limitierte 10-Zoll-Pressung auf Vinyl erhältlich sein.

It"s been six years since LA DISPUTE released their last album, Panorama. Since then, the Michigan post-hardcore band-made up of Jordan Dreyer on vocals, Brad Vander Lugt on drums, Chad Morgan-Sterenberg and Corey Stroffolino on guitar, and Adam Vass on bass-dealt with the stagnance of the pandemic, celebrated the ten-year anniversaries of Wildlife and Rooms Of The House, and began working on NO ONE WAS DRIVING THE CAR. The fifth studio LP is the first entirely produced by the group, and it came together in Grand Rapids and Detroit, the United Kingdom, Australia, and the Philippines: "I think the change in environment was really helpful to breathing new life into the process each time we came back to it," Dreyer says. Partly inspired by the 2017 psychological thriller First Reformed, NO ONE WAS DRIVING THE CAR reckons with malaise in the shadow of the looming apocalypse, which has noticeably been worsened by the advancement of tech. The title comes from a quote from a police officer Dreyer read in a news article about a lethal self-driving Tesla crash, an absurd event which raises questions about the amount of control we have in our own lives. In fourteen dynamic tracks, the band grapples with the existential topic and the human need to find comfort and a sense of security in an existence where we"re often thrust into chaos without permission.

Nach zwei Jahren unermüdlichen Tourens und zahlreicher Festivalauftritte kehrt die finnische Melodic-Death-Metal-Band Suotana mit ihrem bislang ambitioniertesten Album zurück: „Ounas II“, dessen Veröffentlichung für den 29. August 2025 geplant ist.

Als epische Fortsetzung von „Ounas I“ aus dem Jahr 2023 hebt dieses Album den charakteristisch frostigen Sound der Band auf ein neues Level und liefert eisige, zugleich mitreißende Melodic-Death-Hymnen, die das Genre neu definieren werden. Nach dem Erfolg ihres letzten Albums begab sich Suotana Anfang 2024 auf eine Asientour mit Kalmah sowie auf eine Europatour mit Finntroll und brachte ihren energiegeladenen, atmosphärischen Sound einem neuen internationalen Publikum näher. Auch bei namhaften Festivals wie Summer Breeze, Ragnarök Festival, Nummirock, Tuska und dem Hellsinki Metal Festival konnte die Band ihren Ruf als ernstzunehmende Größe der Szene weiter festigen. Die Rückkehr ins Studio mündete in einem Werk, das Aggression, Melodie und monumentales Storytelling meisterhaft vereint. Ounas II ist ein eindrucksvolles Zeugnis für Suotanas Weiterentwicklung – epische, frostklirrende Melodic-DeathHymnen mit Einflüssen aus Black und Power Metal. Songs wie „Twilight Stream“ und „Winter Visions“ demonstrieren das gereifte Songwriting und die eiskalte, zugleich elektrisierende Atmosphäre der Band. Das unbestrittene Herzstück des Albums ist jedoch „1473 Ounas“ – eine zehnminütige Melodic-Death-Odyssee mit einem atemberaubenden Gastauftritt von Zoe Marie Federoff-Šmerda (Cradle of Filth). Ihre eindringlichen Gesangslinien verschmelzen nahtlos mit Suotanas Signature-Sound und machen den Song zu einem sofortigen Klassiker.

Zum Abschluss der Ounas-Saga präsentiert Suotana eine eiskalte Neuinterpretation des Children-of-Bodom-Klassikers „Hatebreeder“, in ihrem eigenen, rauen und arktisch geprägten Stil.Das beeindruckende Cover-Artwork, erneut geschaffen von Simo Räsänen, fängt die majestätische nordische Landschaft und die rohe Intensität perfekt ein, die Suotana auszeichnet. Mit „Ounas II“ festigt Suotana ihren Platz in der Elite des nordischen Metals und liefert ein Album ab, das die Maßstäbe des Melodic Death Metals mit Black-Metal-Einflüssen neu setzt.

After a two-year hiatus from recording, the OC based band reconvened in 2023, returning to where it all started: drummer Lucas Ovalle"s garage. It was in this familiar environment that Ovalle, guitarist lead singer Josiah, guitarist Corbin Jacques,and bassist Seth Thomson learned how to be friends again and shared all the anxieties and revelations they"d endured on hiatus through crafting songs. The 13 songs that make up Big Smile are the band"s emotional champions that track the tumultuous period between the start of their break and the peace they found on their way back to each other. In the studio with fellow California legends Rob Schnapf (The Vines, Beck) and Matt Schuessler (Kurt Vile, Cat Power), GREER grew up again, taking more ownership over their sound and learning to speak producer-ese. Big Smile is the sound of a band exorcising their demons, learning to trust themselves, and asserting themselves with newfound earnestness and maturity. It"s the sound of a band that"s fallen in love with rocking out again. It"s the sound of friends rediscovering each other and the magic that they can create together when they embrace each other"s vulnerable side. With Big Smile, GREER has arrived as a serious, and seriously fun, alt rock band with diversity of sound and unity of vision.

ALL and the Descendents hit you square in the jaw with this live trade. The band has always dealt with issues in their own way. They attack subjects at the core of social, political and cultural concerns: drugs ("World"s On Heroin"), our corporate-dominated society ("Educated Idiot") and religion ("Crucifixion," with its repeating chorus of "Hypocrite! Hypocrite!" and further indictment with "praise the Lord, pass the ammunition!"). ALL then proves they can segue effortlessly to somewhat lighter matters like relationships ("Breakin" Up," "She"s My Ex") with full irony in tact. Why, they nearly approach boy-band sensitivity with the tender yet thumping "Until I Say So" and the unabashed love song "Teresa." "ALL Live + One" is a must for ALL Descendents fans.

Spanning some eight albums and multiple line-ups, "All Ages" contains the very best of Bad Religion"s Epitaph years. It includes live versions of "Do What You Want" and "Fuck Armageddon..." with artwork that is culled from original show flyers! The lyrics sheets are also the original hand-written versions; some of which were scribed on bedroom walls!