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Drift, their fifth studio album sees Pianos Become the Teeth taking another sonic step forward to craft a musical statement that truly transcends genres.
Newly remastered, 1996's The Gray Race is Bad Religion's ninth full-length effort overall and follow-up to their highly successful 1994 album Stranger Than Fiction. Produced by The Cars' Ric Ocasek and the band's first record sans guitarist Brett Gurewit
Rancid's new record HONOR IS ALL WE KNOW is much like their other records in the sense that it is filled with the stories and characters that populate the band's lives.
The band's sound is easily compared to second wave post-emo indie rock bands of the late 90s and early 2000s- a dense textured sound with multi-layered and heavily effected guitars as well as synthesizer, cello, and trumpet.
Mannequin Pussy's new songs burst forth from the sprawling months of social isolation & internet-fueled anxiety. The band rages about the practice of condensing your daily life into a manicured stream of images for social media.
Lil Lotus is the creative persona of LA based singer / producer John "Elias" Villagran. As Lil Lotus, Villagran draws from his vast array of influences in rock, pop-punk, and hip-hop to create genre-blending music.
The first thing to know, if you want to know about Propagandhi, is that they came here to rock. Right from the snarling opening riff of their seventh album, Victory Lap, that much is clear.
Rage, confusion, despair, self-deception, and introspection-Madi Diaz cycles through the full spectrum of emotions on History Of A Feeling, her debut on ANTI-.
Without surrendering any of the energy and hard edge of their previous albums, they've given us a profoundly meditative work which serves as a musical summons to everyday attentiveness.
Every Time I Die is a Southern Hardcore Rock band from Buffalo, New York, founded in the winter of 1998. Across a series of five albums, they have defined a scene, with their unique blend of Metalcore, punk, and Southern rock.
Part three of a trilogy originally released as part of the “Orphans” collection in 2006. Available for the first time as a stand alone album pressed on 2xLP 180 transparent grey vinyl.
Recorded in front of a live audience at the Record Plant recording studio in Los Angeles in 1975, Nighthawks debuts some of Waits' greatest classics with a crack Jazz band backing him up and some of the greatest stage patter ever committed to record.
