Cullen and Mason chat with Dallas Taylor who was the frontman of Underoath and Maylene and the Sons of Disaster. They chat about his time in Underoath and Maylene, what he’s up to now since his accident, and much more. Become a supporter of this podcast and listen on Apple Podcasts, Spotify, and Spreaker. You can also follow us on Instagram and […]
Funeral doomers Pantheïst have revealed details and first single in connection with their new full-length announcement. Dubbed Uncanny Times it will land in stores on October 30, 2026 through Argonauta Records in several different formats. The 6-piece outing was recorded, mixed and mastered by Timothy Vincent. Read more…
Fake Names is breaking a three-year silence. The punk supergroup’s third studio album, Punk Ruins, arrives Oct. 23 via Epitaph, and the band has kicked off the campaign with the video for “Until It’s Normal,” an opener that doesn’t waste time going after people buying into today’s fascist propaganda.
The lineup behind Punk Ruins reads like a punk rock roll call: guitarists Brian Baker (Minor Threat, Dag Nasty, Bad Religion) and Michael Hampton (S.O.A., Embrace, The Faith), vocalist Dennis Lyxzén (Refused, INVSN), bassist Johnny Temple (Girls Against Boys, Soulside), and new addition Mario Rubalcaba (Rocket From The Crypt, OFF!) on drums. Together, they’ve built a sound that fuses D.C. post-hardcore with modern power-pop, and Punk Ruins uses that combination to pick apart political manipulation and modern-day social anxiety while still holding onto punk’s core sense of catharsis.
The album was tracked at Chicago’s storied Electrical Audio with producer Matthew Barnhardy (Superchunk, Bob Mould), a pairing that Fake Names says pushed the record past genre lines into something that’s equal parts furious and fun. It is available to pre-order here.
The turnaround was fast. Baker laid out just how fast: “We recorded twelve songs in five days, and all of them are on the album,” he explains, adding that Lyxzén knocked out his vocals in a single session.
Asked how the band managed to land on something this cohesive in such a short window, especially compared to how long some of their other projects spend in pre-production, Baker credited the prep work everyone did independently beforehand:
“One of the advantages of us all working at home is there’s plenty of time to figure out what you’re going to do. I know what the guitar solo is going to be because I’ve already done it at home and sent it to Michael to tweak it. It’s not as hard as you think.”
Baker described the record as a genuinely collaborative effort, one where half the fun was watching ideas mutate once the full band got hold of them: “This album is a collective expression and a lot of the fun is seeing how the hell it is going to turn out.”
He pointed to how the rest of the band’s musicianship pushed his and Hampton‘s initial sketches somewhere neither of them expected. “Diamond Buzz” rides a hypnotic groove, while the title track leans into the band’s D.C. hardcore roots, with Lyxzén‘s vocals sharpening hooks that were already plenty sharp.
Baker calls Fake Names a “mutual admiration society,” a band built on blending 1970s U.K. punk with classic hardcore attitude and guitar-forward power-pop. The self-titled debut, which landed in 2020, leaned more toward classic rock. Its follow-up, 2023’s Expendables, was produced by Adam “Atom” Greenspan (IDLES, Yeah Yeah Yeahs), who gave the band a noticeably cleaner, richer sound.
Fake Names will hit the road for a short U.S. run in February 2027, with stops in Brooklyn, Los Angeles, Chicago and more.
Things at Levon Helm Studios are getting uglier. The ongoing feud between the owners of the Woodstock venue has led to a slew of canceled shows, and now they’re struggling to issue refunds.
An impossible cenote calls the lost and uncertain towards self-sacrifice. Four civilizations rise around its edge, turning that fatal summons into religions, hierarchies and monuments. This is the world behind “Priests of Lik’in,” the new single from German black/death metal band CH’AHOM. The song is the second preview of the group’s forthcoming album, Anthropic Rites […]
Trauma Party have found the right instrument for 2026: a busted carnival loudspeaker wired straight into the national nervous system. Roll Up (It’s the New Truth), the final video single drawn from the New Zealand group’s debut EP Because You’ve Been Good, barrels forward on rolling drums and blackened guitar, turning political disgust into a carnival bark that grows more feverish with every repetition.
There is some of The Fall’s sour wit in the delivery, some Killing Joke in the pressure underneath, and a trace of Sham 69 in the gang-minded force of the refrain. Then the psychedelic stink rolls in. The Crazy World of Arthur Brown feels close at hand, while the guitars occasionally carry the broad, wounded sweep associated with The Chameleons. Trauma Party throws these ingredients into a garage-rock furnace and lets the song stagger around like a circus tent caught in a riot.
The lyrics present authoritarian politics as cheap entertainment turned lethal. A fat orange clown presides over cages, bile, violence, snake oil, obedient freaks, and language mangled until falsehood becomes official reality. The joke keeps curdling because the circus imagery is funny for roughly half a second before its implications land. Spectacle becomes governance, repetition becomes persuasion, and the crowd is expected to applaud while vocabulary itself is dragged behind the tent and beaten senseless.
“This song is not quiet; it screams at us all to wake up and beware ‘the new truth’ and the surreality of alternative facts,” the band says. “It’s a fiery post-punk alert from the fringes, illustrating the strength of art and music as tools of resistance.”
Buddy Olson pushes the point further with a statement whose terse menace could have been painted across a barricade: “The privileged are few. We have them surrounded. Don’t let them escape. Hold them accountable.”
The accompanying video gives the song an appropriately lawless setting. Filmed outside The Woolshed, Trauma Party’s clubhouse at the Waiheke Dirt Track, the band perform beneath a cold moon amid fire, smoke, and Molotov cocktails. Cars continue passing in the background, an almost comic detail that makes the scene more disturbing: apocalypse as roadside attraction, fury blazing a few metres away while ordinary traffic keeps moving, while everyone is expected to call the wreckage progress again. There is a Mad Max quality to the imagery, crossed with the scruffy end-times fatalism of A Boy and His Dog, yet the cheap-thrills destruction carries political purpose.
Watch the video for Roll Up (It’s The New Truth) below:
Trauma Party closes their EP Because You’ve Been Good by making the circus grotesque, psychedelic, and dangerously catchy. The tents are up, the clown is talking, the audience is already inside, and somewhere behind the music somebody is selling the lie as admission price.
Listen to Roll Up (It’s The New Truth) below and order the single here.
Swedish legendary rockers Europe are unveiling a brand new single, “Scandinavian Eyes”, as part of their upcoming studio album Come This Madness. Read more…
Portuguese gothic and dark metal pioneers HEAVENWOOD have released a new video for “The Sun,” taken from their latest album, The Tarot of the Bohemians – Part II. Its arrival also leads into a milestone for the band: a special 30th-anniversary concert at Coliseu do Porto on September 22. The video was created by visual […]
