After more than a decade, Shai Hulud brought their live show back to Los Angeles on Thursday, November 13, 2025. The OG metalcore band brought OC hardcore favorites Taken and Tacoma’s Denial of Life along to fill out the lineup at 1720 Warehouse.

Opening the show was the hardcore thrash band from the Pacific Northwest, Denial of Life. Putting on an energetic performance, the band won the crowd over as the venue started to fill up. Formed just before the COVID pandemic started, the crossover thrashers have already been making big waves. Prior to this tour with Shai Hulud, the bands toured Europe together with Bleeding Through. DOL’s latest album Witness the Power was released on Creator-Destructor Records during this run. Their latest videos for “Circle the Drain” and “Sword of Fire” are up at the band’s YouTube channel.

Orange County’s melodic hardcore heavyweights Taken were up next with some subtitutes in their lineup. Vocalist, and podcaster, Ray Harkins was out on a previously planned international anniversary trip, so It Prevails and Lament vocalist Ian Fike handled the frontman duties. Jon Berndston from San Diego’s The Beautiful Mistake was on bass. Everyone crushed it, and the crowd was anything but disappointed. Iodine Recordings currently has the compilation The Dogs of Hope, a benefit for shelter animals, out now and streaming everywhere including the track “D4” by Taken, which was previously only sold on a tour EP in Japan.

For the first time since 2014, Shai Hulud took the stage in Los Angeles. The band insisted on removing the barricade for this show, and to the surprise of even some 1720 staff, it was. Geert van der Velde is still back on vocals, and he invited the crowd to use the mic and the stage as their own. Also returning were mainstay Matt Fox on guitar and Stijn van Gestel on bass. Rounding out the lineup was Unearth’s Peter Layman on guitar and Daniel Pouliot from HORSE the band on drums.

Whether the fans had been awaiting their return or the Dune movies brought new fans or both, it was a love fest between the band and the crowd. Considered by many to be the original metalcore band in its original form as a true crossover of metal and hardcore, the band made their case that night with a blistering onslaught of hardcore metal. The band finishes the next leg of this tour with Holder in December and will tour Australia and New Zealand in January.

Denial of Life

Taken

Shai Hulud

I was incredibly excited when I first heard Type O Negative via the track Christian Woman. I loved the medieval vibe, Pete Steele’s fathomlessly deep voice and the rustic acoustic parts. I thought this was going to be the best band ever but their 1993 album Bloody Kisses proved to be a bit of a mixed bag with a range of doomier, poppier and angrier tracks that were more or less to my taste but never came close to fulfilling the promise of that beloved introductory song. The follow-up, 1996’s October Rust, didn’t have anything quite that good either but, by revelling in the beauty of nature, got closer to what I really wanted from Brooklyn’s Drab Four. Lovelorn, gothic ballads like Love You To Death and Die With Me feature memorable melodies and rich layers of instruments and although the mixed bag elements creep in on groovier tracks like Be My Druidess and My Girlfriend’s Girlfriend these songs don’t disrupt the album’s mood and add some welcome energy. The musical highlight, though, is the climatic pairing of Wolf Moon (Including Zoanthropic Paranoia) and Haunted. Vampiric vocalist Steele is at his sonorous best on these creepy, doomy and foreboding epics and they awaken some of that Christian Woman excitement. But the thing that really makes me come… back for more is the stunning autumnal soundscape and atmosphere the band created on this album. It all sounds so idyllic and magical that it feels more like you’re entering a woodland realm than listening to a record. And it’s the main reason October Rust is my favourite Type O Negative record. A mandatory listen every time the leaves start falling from the trees.

Good Day Noir Family,
Last Relapse’s EP is a fascinating exploration of mood, texture, and emotional control.

EP is Last Relapse’s EP Out Now

It begins with “Everyone Dances Outside of Their Bodies,” a track that introduces a mysterious aura.

A gentle guitar arpeggio floats in the air, and just as you expect the rhythm to build, the drums hesitate—creating an intriguing push and pull that sets the tone for the entire record. When the vocals enter, they carry an ethereal quality, suspended between dream and confession. There’s a nocturnal beauty in how the band balances restraint and release, something reminiscent of Radiohead’s introspective side, yet still distinctly their own.

The chorus shifts dramatically, transforming the song’s emotional gravity with a burst of intensity. This contrast between fragility and power gives the track its hypnotic pull. The percussion occasionally breaks pattern, offering rhythmic flourishes that nod to bands like Live, but filtered through a darker, more cinematic lens.

Then comes “Hey Girl,” a piece built around an echoing guitar tone that feels like it’s calling from across a canyon. The rhythm locks in with purpose, carrying the song forward with steady momentum. There’s something theatrical about Last Relapse’s approach—they build their songs as scenes rather than standard structures, letting emotion dictate form. The result feels immersive and unpredictable in the best way.

“Rats in a Cage” adds an experimental touch. Its melodic line channels traces of Grant-Lee Buffalo’s introspection, but the harmonic variations are entirely fresh. The interplay between instruments feels intuitive, as if the band communicates telepathically.

“In My Place” continues the atmospheric journey, keeping the listener in a state of drifting focus. Then the closer, “Solfeggio Dream,” strips everything back. Minimalist and meditative, it feels like the band dissolving into the ether. The voice is weightless, the guitar pastoral, and the mood timeless. It’s a haunting finale that lingers long after silence returns.

Last Relapse’s EP is an introspective, modern work that thrives on texture, patience, and emotional honesty.

EP is Last Relapse’s EP Out Now!

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Ethereal!

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EP is Last Relapse’s EP Out Now

Last Relapse is an Atlanta-born indie-rock band known for fusing raw confession with widescreen, dream-tinged guitar work, and a lively rhythm section. From 2006 to 2012 they logged more than 200 shows, earned regional press buzz, and released the cult-favorite album Machine before an extended hiatus sent members down very unique different paths in life. Reunited 13 years later, the group returns tighter and more adventurous, channeling years of experience into a five-track EP —an evolution that marries their original emotional edge with fresh, immersive sonic depth.

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Good Day Noir Family,
“Mr. Fly” opens with swagger. The rhythm feels instantly grounded in something vintage, evoking the dusty haze of the 1970s — a time when grooves carried grit and charm.

Mr. Fly is Bog Witch’s Single Out Now

The track moves with a self-assured strut, guided by a sly pulse that recalls the freedom of a van barreling down the highway toward Woodstock. It’s playful, moody, and soaked in character.

Bog Witch builds her universe with care. The production feels organic, yet every sound sits with precision. The guitar has a muted warmth, almost as if it’s wrapped in velvet, giving the music a hypnotic texture. Then the voice arrives — mature, mysterious, and expressive — drawing you closer with phrasing that feels lived-in. Something is known in her tone, as if she’s letting you in on a secret only half-meant to be shared.

The harmonies are another strength. The backing vocals glide gently through the mix, enriching the melody without overshadowing it. Their placement gives the song a feeling of depth, like a faded photograph slowly coming to life. Layer by layer, the instrumentation builds into something lush yet understated.

A subtle horn section appears, breathing movement into the arrangement. Those brass tones inject energy without breaking the spell, fusing beautifully with the acoustic-driven rhythm. The percussion, steady and slightly teasing, keeps the groove in motion — never rushed, always smooth. There’s a jazzy looseness to it, mixed with blues undertones and a touch of psychedelic charm.

What stands out most is the mood. “Mr. Fly” exists in a liminal space — part folk-rock, part cinematic daydream. The result feels timeless, as if Nancy Sinatra wandered into a late-night jam session where folk, blues, and jazz collide.

“Mr. Fly” doesn’t just play; it lingers. It’s smoky, confident, and full of character.

Mr. Fly is Bog Witch’s Single Out Now!

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Psychadelic!

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Mr. Fly is Bog Witch’s Single Out Now

Wendy DuMond is a singer-songwriter and producer whose music fuses storytelling, emotional honesty, and echoes of folk, Americana, and art-pop. Born in Montana and raised in Oklahoma, her songs reflect the open skies and quiet depths of the American heartland. Now based in the South, she continues to explore themes of identity, longing, and quiet rebellion through her solo work, her project Bogwitch, and as a member of the Americana band Blackfoot Daisy.

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Good Day Noir Family,
“Bird of Time” begins with a harmonic sequence that carries a nostalgic warmth and immediately draws you into Factheory’s world.

Bird of Time is Factheory’s Single Out Now

The opening guitar chords shimmer with the brightness of early R.E.M., yet the band quickly makes the atmosphere their own.

The arpeggio line feels intimate and expressive, almost as if each ringing note is tracing the outline of a memory that refuses to fade. Soon the rhythm settles into a steady pulse, giving the track a sense of forward movement without disrupting its reflective tone.

As the song unfolds, the chorus delivers an unexpected turn. Distorted guitars crash in with a sudden hard-rock surge, adding grit and tension. The melody becomes darker and slightly more dramatic, shifting the emotional center of the track. This contrast works extremely well because the band maintains full control of the transition, never letting the energy overwhelm the mood. Instead, the shift adds depth, showing just how flexible their writing can be.

Then the song returns to the verse with renewed purpose. The interplay between the guitars and the vocal line feels natural, demonstrating a group that understands how to balance clarity and intensity. Every section builds on the last, creating a dynamic arc that keeps the listener curious.

However, the most surprising moment arrives after the second chorus. A bridge appears that brushes against avant-garde territory, with hypnotic vocal layers floating over a driving groove. The atmosphere becomes dreamlike, even a bit unsettling, before the arrangement opens back into the final section. It’s bold, imaginative, and executed with confidence.

Factheory clearly enjoy challenging expectations, and “Bird of Time” proves it. The band blends nostalgia, experimentation, and emotional weight into a track that feels genuinely distinctive. It’s smart, melodic, and full of unexpected ideas—a strong example of modern alternative creativity.

Bird of Time (ft. Michel Sordinia) is Factheory’s Single Out Now!

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Adventurous!

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Bird of Time is Factheory’s Single Out Now

Factheory is a Belgian band (Brussels) build with the ashes of many more or less alternative groups of the 80s, 90s and 2000s (Dirty Time, Petit Futur, Amazing Games, Unsaid … among others) Factheory represents a successful compromise between a darkwave with unstoppable melodies and a postpunk rock with electro trends. Factheory is Dominique Nuydt (bass, synths, drums programming), Bruno Uyttersprot (vocals, guitar and main lyricist) and Stefan Weidemann (guitar). Discography, see on Bandcamp.

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Good Day Noir Family,
John Michael Hersey’s Democracy opens with its title track, a rock-driven piece carried by a confident guitar riff and a narrative urgency that immediately frames the album’s mission.

Democracy is John Michael Hersey’s Album Out Now

His vocal tone cuts through clearly, delivering lyrics that observe the turbulence of our era with wit and directness.

The style recalls classic American storytellers—artists like John Mellencamp or Elvis Costello—yet Hersey keeps the delivery modern and crisp, allowing the commentary to land without ever losing musical weight.

Soon after, “I’ll Never Let Go” shifts the palette. Built around a repeating melodic phrase, the song grows with a near-blues solo that stretches the atmosphere in a very satisfying way. It’s upbeat, warm, and surprisingly playful, showing how much Hersey enjoys bending his songwriting into new shapes. The rhythm carries a brightness that lifts the mood and keeps the listener leaning forward.

Then “Nowhere” introduces a more mysterious tone. The arpeggio in the opening feels slightly unstable, and that tension sets the stage for one of the album’s most intriguing melodies. Hersey leans into mild dissonance here, revealing a refined and adventurous approach that brings to mind Peter Gabriel’s willingness to explore edges. The track feels daring without losing emotional coherence.

“Another Drinking Song” leans into swagger. It’s bluesy, humorous, and full of character, moving with a relaxed Americana swing. Hersey’s storytelling gifts shine here; the song entertains while still feeling musically rich.

“The Boy with a Bomb” follows with a retro guitar line that could have stepped straight out of the ’70s. The verse experiments with unusual shapes, yet the chorus opens into a more harmonious space, making it incredibly memorable. It’s the type of track that makes you want to sing along without even noticing.

The closing track, “Connected,” brings the album full circle. Its rhythm carries a subtle bounce that borders on danceable, and there are flashes of Elton John–style phrasing tucked into the arrangement. The song feels alive, slightly unpredictable, and full of personality—much like the album as a whole.

With Democracy, John Michael Hersey delivers a collection rich in intelligence, craft, and emotional depth. It’s an album shaped by vision, curiosity, and a willingness to explore.

Democracy is John Michael Hersey’s Album Out Now!

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Insightful!

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Democracy is John Michael Hersey’s Album Out Now

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Good Day Noir Family,
“Glass Wings” feels like stepping into a dream stitched from shadows, ritual, and cinematic tension.

Glass Wings is Muse to Sirens’ Single Out Now

 The duo Muse to Sirens lean fully into their avant-garde instincts here, crafting a track that moves like a whispered spell drifting through an abandoned cathedral at night.

The opening crash of the cymbal—slightly dissonant, slightly unsettling—acts almost like a warning. Something supernatural is about to take shape.

Then Vanity Ladner’s voice arrives, gliding through the mix with a tone as hypnotic as an enchantress guiding you toward a fire lit somewhere in the distant woods. Her delivery has a mystical pull, a mixture of old folklore and modern experimentalism. She doesn’t simply sing the melody; she embodies it, turning each phrase into something ritualistic. The song’s melodic line drifts slowly, almost serpent-like, and creates an atmosphere where time feels stretched and uncertain.

Meanwhile, the underlying keys keep swirling below like fog, crafting a backdrop that feels delicate and eerie. Their softly dissonant harmony brings a cinematic edge—something close to a soundtrack for wandering through a fog-soaked city where every streetlamp hides a secret. Muse to Sirens clearly enjoy building tension through minimalism, allowing each texture to linger before another element arrives.

Around the 2:50 mark, the track shifts dramatically. A distorted guitar enters with a steady, pulsing cadence, raising the stakes and transforming the piece from whispered ritual to full-bodied invocation. The tension thickens as the duo push the atmosphere toward a controlled frenzy, keeping the listener suspended between beauty and danger. They close the song with bright, high piano notes that fall like cold raindrops on asphalt—gentle yet haunting.

“Glass Wings” is a surreal trip, bold in structure and fearless in emotion. Muse to Sirens embrace experimentation with instinct, intention, and a clear sonic identity. It’s a gorgeous fever dream of a track and a journey I absolutely recommend.

Glass Wings is Muse to Sirens’ Single Out Now!

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Arcane!

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Glass Wings is Muse to Sirens’ Single Out Now

Muse to Sirens is a Pennsylvania-based duo weaving the haunting vocals of Vanity Ladner with the hypnotic rhythms of Ozymandias Ladner. Born in the underground bars of Shanghai, their sound fuses the golden age of Gothic music with the folklore and musical roots of the American Deep South—evoking the feeling of standing at a Mississippi crossroads, soul in hand. Since returning to the U.S., they’ve performed along the Gulf Coast and become a striking presence in Pennsylvania’s underground scene. Featured as the first U.S. act interviewed by the UK’s Viva! Podcast, Muse to Sirens were also 2023 and 2024 Nappie Award Finalists for Best Underground / Metal Band, marking their rise as one of the region’s most intriguing and genre-defying acts.

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Good Day Noir Family,
“Honey, Hi” introduces SIDE BANGS as a project with a deeply artistic identity, shaped by the vision of Stephanie Rodgers, who writes, sings, and plays guitar.

Honey, Hi is SIDE BANGS’ Single Out Now

The track feels like a quiet portal into a world that bends reality just enough to make it feel dreamlike. Its atmosphere is rich yet understated, and its emotional tone is crafted with a cinematic sense of detail.

The guitar carries a soft, muted tone, almost as if it lives behind a thin veil. This quality places the listener in a suspended zone, somewhere between the physical world and a metaphysical space that the band creates through minimalism and intuition. The chord movement feels natural, although it also hints at something slightly uncanny, which keeps the ear alert.

Then the vocal presence arrives. Rodgers’ tone is striking: airy, hypnotic, and slightly mysterious. She delivers the melody with the kind of grace that feels effortless, yet every phrase lands in a deliberate way. There is a siren-like quality to her voice — not in a dramatic sense, but in the way it pulls you closer without pushing for attention. The comparison to Annie Lennox comes to mind because of the clarity and emotional resonance in her tone, though Rodgers shapes it with her own identity.

The entire song unfolds like morning fog drifting across a quiet street, and the listener is guided through it with patience. Furthermore, the production avoids excess and allows space to breathe. Each element is placed with care, almost like minimalist theatre: nothing distracts from the core emotion. This restraint makes the song even more immersive.

As the track develops, its nostalgic aura intensifies. The melody carries a softness that lingers, and the instrumental palette deepens that sense of introspection. It is the kind of song that slowly enters your system and stays there, not because of dramatic peaks but because of its delicate honesty.

“Honey, Hi” feels like a whispered message delivered at exactly the right moment.

Honey, Hi is SIDE BANGS’ Single Out Now!

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Hypnotic!

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Honey, Hi is SIDE BANGS’ Single Out Now

Side Bangs, hailing from Brooklyn, NY, is making waves with their latest original single, “Honey, Hi.” Led by Stephanie Rodgers, who serves as the singer, guitarist, writer, and producer of the track, Side Bangs delivers a fresh sound that captivates audiences.

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Good Day Noir Family,
Wholes build their new album A Mass in the Water on a foundation of grit, tension, and unfiltered instinct. It’s a record that refuses predictability and instead leans into a very physical type of alternative aggression.

A Mass in the Water is Wholes’ Album Out Now

  The opener, “Holes,” hooks you with a rhythm that recalls the muscular drive of Queens of the Stone Age, though the textures lean closer to the industrial shadows of Nine Inch Nails.

The vocal delivery has a ritualistic edge, almost like a sermon delivered in a factory lit only by dim red bulbs. It’s a bold and visionary start, and it clearly signals that this band isn’t following any well-worn path.

Then “Urge To Do Better” enters with a tribal pulse, something earthy and primal. The spoken delivery in the verse feels deliberate, while the guitars lurk like wild horses waiting to break free. When the chorus arrives, the melodic lift is unexpected yet deeply satisfying. The groove has a dystopian quality, and the futuristic feeling amplifies the unease in a strangely addictive way.

“Lost In A Head” pushes things further. The unstable, distorted guitar and the sudden impact of the drums create a sense of chaos that feels almost cinematic. It carries the tension of a Lars von Trier sequence—grim, erratic, and hypnotic. The track moves with a violent energy that burrows deep.

The mood shifts but never softens in “Modern Day Drama.” A sinister bass line opens the door to a whisper-like vocal approach that subtly echoes the attitude of early Marilyn Manson. The dissonances add pressure, growing like a fog that refuses to lift. It’s one of the album’s most intense and memorable entries.

“Till We Don’t Meet Again” increases the tempo, offering a hypnotic momentum perfect for late-night drives where the road feels endless and the world feels quiet. Then the album closes with “What Is Worse Than Murder,” a minimalist, voice-and-guitar confession that slowly expands. More instruments enter after the second minute, lifting the track into a desperate, almost spiritual crescendo. It becomes a lament, a final cry in the dark.

A Mass in the Water is harsh, visionary, and beautifully unrestrained—an album that digs into the rawest corners of emotion.

A Mass in the Water is Wholes’ Album Out Now!

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Haunting!

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Written in the aftermath of Wolf Vanwymeersch’s father’s suicide, the album captures a descent into confusion, rage, and grief — but also the slow, stubborn search for connection. The name WHOLES itself was born from that tension: where holes signify wounds, wholes points to healing.

WHOLES — a collective featuring members of Elefant, Pink Room, Hypochristmutreefuzz and kolektiv, is quickly carving out a space where emotion meets dissonance, where grief and detachment collide in noise.

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Good Day Noir Family,
Omnesia’s “Days and Nights” feels like stepping through a thin membrane into a dream universe — one where memory, longing, and quiet mystery float in air that shimmers just slightly differently from ours.

Days and Nights is Omnesia’s Single Out Now

The track doesn’t hurry; it drifts with intention, inviting the listener to surrender to mood before melody, atmosphere before structure.

Yet it never feels abstract for the sake of obscurity. Instead, every sound and breath works toward a fragile, beautifully human emotional pulse.

The most striking element arrives immediately: the voice. It sits in a mesmerizing space that blurs gender, time, and identity — soft and resolute, light and earthy. There’s an otherworldly quality that pulls you closer. You don’t just hear lyrics; you feel them, as if whispered through a dream you’re not fully awake from. This vocal delivery alone positions Omnesia in a rare space, where indie introspection meets avant-garde curiosity without losing accessibility.

Instrumentally, the production is minimal yet strategically rich. Gentle textures, glistening synth touches, and patient guitar tones give the song a cinematic hush. Notes stretch into each other like starlight across water. The rhythm remains subtle, almost like a heart keeping time quietly in the background. Moreover, every layer feels organic, even when electronic elements appear. That blend creates something modern and timeless.

What truly elevates “Days and Nights” is its emotional core. There is nostalgia here, but not the sweet kind — more like a memory of something sacred that you can almost reach but never fully hold. The track carries ancestral echoes, as though it remembers old folk spirits and future-dream ghosts at once. That duality, between ancient and futuristic, makes the listening experience unusually immersive.

Yet the music never collapses into heaviness. Instead, it breathes. It expands gently. It lingers in the soul without demanding anything. And when it ends, silence suddenly feels deeper, as if the song left a small imprint on the room.

Omnesia achieves something rare: a track that feels experimental but emotionally grounded, ethereal but sincere. “Days and Nights” sits at the crossroads of indie elegance and avant-garde storytelling, proving that subtlety can be as powerful as thunder.

Days and Nights is Omnesia’s Single Out Now!

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Transcendent!

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Omnesia is androgynous vocalist medella kingston + eclectic guitarist/producer M2= auditory omakase, where future vintage rock, indie dance, electro-pop, nu wave +prog find common ground.

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