#purenoiserecords — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #purenoiserecords, aggregated by home.social.
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My Iron Lung – Relief
#Indie #MyIronLung #PostHardcore #Punk #PureNoise #PureNoiseRecords #posthardcore #SanDiego
CC BY-NC (#CreativeCommons Attribution Non Commercial) #ccmusic
https://myironlung.bandcamp.com/album/relief -
Spaced sign to Pure Noise Records, announce new EP, share 'Cause and Effect' video
#music #punk #PunkRock #HardcorePunk #punkHardcore #PureNoise #PureNoiseRecords #Spaced
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Spaced sign to Pure Noise Records, announce new EP, share 'Cause and Effect' video
#music #punk #PunkRock #HardcorePunk #punkHardcore #PureNoise #PureNoiseRecords #Spaced
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Spaced sign to Pure Noise Records, announce new EP, share 'Cause and Effect' video
#music #punk #PunkRock #HardcorePunk #punkHardcore #PureNoise #PureNoiseRecords #Spaced
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Spaced sign to Pure Noise Records, announce new EP, share 'Cause and Effect' video
#music #punk #PunkRock #HardcorePunk #punkHardcore #PureNoise #PureNoiseRecords #Spaced
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Spaced sign to Pure Noise Records, announce new EP, share 'Cause and Effect' video
#music #punk #PunkRock #HardcorePunk #punkHardcore #PureNoise #PureNoiseRecords #Spaced
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Blood Vulture – Die Close Review
By Saunders
Corpse-painted host and comedian of metal show Two Minutes to Late Night, Jordan Olds (aka Gwarsenio Hall), spearheaded some nifty entertainment during the height of the pandemic. Snapping up the limited release digital covers EPs during Bandcamp Fridays allowed me to net some cool stuff. Olds and a host of musicians, including Chelsea Wolfe and members of Dillinger Escape Plan, Mastodon, Mutoid Man, Royal Thunder, and Baroness amongst others, put their wacky spin on a variety of metal anthems and other classic tunes. Olds demonstrated his own impressive musical talents with axe and mic. Keen to substitute his comedic background for a darker, decidedly more serious musical quest, Olds unleashes his Blood Vulture project, crafting a curious debut album entitled Die Close. Boasting a doomy, gloomy, though deceptively versatile and hard-hitting opus, can Blood Vulture muster up the chops and songwriting substance to match the style and impressive musicianship? Die Close features an intriguing melting pot of styles and influences. Doom forms the beating heart of the beast, complimented by elements of sludge, ’90s grunge/alt rock, moody, scarlet dappled Goth, and a touch of camp. Influences are worn proudly on sleeves. Channeling the raw heft of Crowbar, somber hues of contemporary doom heavyweights Khemmis and Pallbearer, along with the addictive harmonies of Alice In Chains, there is nary a dull moment. Blood Vulture boast the songwriting sparks to rise above derivation. Temptation to load up his debut with a convoluted cast of musical guests and friends would have been high. On this front, star power features, but is not overdone, including contributions from Jade Puget (AFI), Shadows Fall frontman Brian Fall, and Kristin Hayter (Reverend Kristin Michael Hayter, Lingua Ignota). Meanwhile, Stephen Brodsky (Cave In, Mutoid Man) and friends lend vocal harmonies on the excellent “Die Close: Finale,” a brooding, grungy, and uplifting closer. Outside of these carefully curated guest spots, by all accounts Olds handles tasks single-handedly, including vocals, guitars, bass, and synths, aided by drummer Moe Watson. Following a shortish, mood-setting opener, Die Close kicks in proper via the leaden sludge-doom riffage and infectious Jerry Cantrell-esque vocal hooks on “An Embrace in the Flood.” The song’s straightforward building blocks deftly shift through surprising turns, including a brief barrage of blast beats and cascading solo, coupled with gorgeous vocal harmonies. A powerful melodic current flows through the album, exemplified through Old’s versatile clean vox, array of elegant solos, and mood-driven, shadowy synths. However, the melodic elements are powerfully counterpunched by a foundation of meaty doom and sludge riffs, lending the album its heavier, weighty edge. Substantial heft dominates the riff palette, heavily featured on cuts such as the gritty crunch of “Grey Mourning,” and the storming throes of “Abomination.” Blood Vulture’s versatility and knack for infectious songcraft shine. Swathed in dreamy atmospheres and built upon a sturdy foundation of grinding riffs, “Entwined” features a wonderful dual vocal performance from Olds and Hayter, the latter’s dramatic, ghostly presence a highlight.For all its notable strengths, gripping guitar work, and towering hooks, Die Close has a few hiccups expected from a debut album. The two shorter introductory and interlude pieces are decent enough, yet ultimately disposable, while the stronger moments and soaring melodies on the Gothy melodrama of “A Dream About Starving to Death” are tripped up by some overly goofy lyrical and vocal turns. Nevertheless, outside of these minor sore spots, Die Close is consistently entertaining and occasionally gripping at its potent best. Olds still displays some tongue-in-cheek humor and horror shtick, also reflected in the accompanying music videos, though overall, Die Close is a dark and brooding album. Expectedly, Olds is the star of the show, defined by his excellent guitar work and standout vocals. Vocally, Olds shifts between several modes, showcasing solid range, character, and emotional depth.
Blood Vulture came from nowhere, unleashing a fresh, emotive and punchy blast of doomy heft, blockbuster hooks and haunting harmonies. Bolstered by stellar performances and addictive songwriting, where the album’s earwormy hooks and stronger material showcase Olds as a serious artist on the rise, Die Close signals an assured and confident debut. A few kinks aside, Die Close is a hugely enjoyable album that’s well worth a listen and should cement Blood Vulture as an exciting new voice in the doomsphere.
Rating: 3,5/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Pure Noise Records
Websites: Bandcamp | Facebook
Releases Worldwide: June 27th, 2025#2025 #35 #AFI #AmericanMetal #BloodVulture #CaveIn #ChelseaWolfe #Crowbar #DieClose #DillingerEscapePlan #DoomMetal #Grunge #LinguaIgnota #Mastodon #MutoidMan #PureNoiseRecords #ReverendKristinMichaelHayter #Review #Reviews #RoyalThunder #ShadowsFall #Sludge
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Blood Vulture – Die Close Review
By Saunders
Corpse-painted host and comedian of metal show Two Minutes to Late Night, Jordan Olds (aka Gwarsenio Hall), spearheaded some nifty entertainment during the height of the pandemic. Snapping up the limited release digital covers EPs during Bandcamp Fridays allowed me to net some cool stuff. Olds and a host of musicians, including Chelsea Wolfe and members of Dillinger Escape Plan, Mastodon, Mutoid Man, Royal Thunder, and Baroness amongst others, put their wacky spin on a variety of metal anthems and other classic tunes. Olds demonstrated his own impressive musical talents with axe and mic. Keen to substitute his comedic background for a darker, decidedly more serious musical quest, Olds unleashes his Blood Vulture project, crafting a curious debut album entitled Die Close. Boasting a doomy, gloomy, though deceptively versatile and hard-hitting opus, can Blood Vulture muster up the chops and songwriting substance to match the style and impressive musicianship? Die Close features an intriguing melting pot of styles and influences. Doom forms the beating heart of the beast, complimented by elements of sludge, ’90s grunge/alt rock, moody, scarlet dappled Goth, and a touch of camp. Influences are worn proudly on sleeves. Channeling the raw heft of Crowbar, somber hues of contemporary doom heavyweights Khemmis and Pallbearer, along with the addictive harmonies of Alice In Chains, there is nary a dull moment. Blood Vulture boast the songwriting sparks to rise above derivation. Temptation to load up his debut with a convoluted cast of musical guests and friends would have been high. On this front, star power features, but is not overdone, including contributions from Jade Puget (AFI), Shadows Fall frontman Brian Fall, and Kristin Hayter (Reverend Kristin Michael Hayter, Lingua Ignota). Meanwhile, Stephen Brodsky (Cave In, Mutoid Man) and friends lend vocal harmonies on the excellent “Die Close: Finale,” a brooding, grungy, and uplifting closer. Outside of these carefully curated guest spots, by all accounts Olds handles tasks single-handedly, including vocals, guitars, bass, and synths, aided by drummer Moe Watson. Following a shortish, mood-setting opener, Die Close kicks in proper via the leaden sludge-doom riffage and infectious Jerry Cantrell-esque vocal hooks on “An Embrace in the Flood.” The song’s straightforward building blocks deftly shift through surprising turns, including a brief barrage of blast beats and cascading solo, coupled with gorgeous vocal harmonies. A powerful melodic current flows through the album, exemplified through Old’s versatile clean vox, array of elegant solos, and mood-driven, shadowy synths. However, the melodic elements are powerfully counterpunched by a foundation of meaty doom and sludge riffs, lending the album its heavier, weighty edge. Substantial heft dominates the riff palette, heavily featured on cuts such as the gritty crunch of “Grey Mourning,” and the storming throes of “Abomination.” Blood Vulture’s versatility and knack for infectious songcraft shine. Swathed in dreamy atmospheres and built upon a sturdy foundation of grinding riffs, “Entwined” features a wonderful dual vocal performance from Olds and Hayter, the latter’s dramatic, ghostly presence a highlight.For all its notable strengths, gripping guitar work, and towering hooks, Die Close has a few hiccups expected from a debut album. The two shorter introductory and interlude pieces are decent enough, yet ultimately disposable, while the stronger moments and soaring melodies on the Gothy melodrama of “A Dream About Starving to Death” are tripped up by some overly goofy lyrical and vocal turns. Nevertheless, outside of these minor sore spots, Die Close is consistently entertaining and occasionally gripping at its potent best. Olds still displays some tongue-in-cheek humor and horror shtick, also reflected in the accompanying music videos, though overall, Die Close is a dark and brooding album. Expectedly, Olds is the star of the show, defined by his excellent guitar work and standout vocals. Vocally, Olds shifts between several modes, showcasing solid range, character, and emotional depth.
Blood Vulture came from nowhere, unleashing a fresh, emotive and punchy blast of doomy heft, blockbuster hooks and haunting harmonies. Bolstered by stellar performances and addictive songwriting, where the album’s earwormy hooks and stronger material showcase Olds as a serious artist on the rise, Die Close signals an assured and confident debut. A few kinks aside, Die Close is a hugely enjoyable album that’s well worth a listen and should cement Blood Vulture as an exciting new voice in the doomsphere.
Rating: 3,5/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Pure Noise Records
Websites: Bandcamp | Facebook
Releases Worldwide: June 27th, 2025#2025 #35 #AFI #AmericanMetal #BloodVulture #CaveIn #ChelseaWolfe #Crowbar #DieClose #DillingerEscapePlan #DoomMetal #Grunge #LinguaIgnota #Mastodon #MutoidMan #PureNoiseRecords #ReverendKristinMichaelHayter #Review #Reviews #RoyalThunder #ShadowsFall #Sludge
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Blood Vulture – Die Close Review
By Saunders
Corpse-painted host and comedian of metal show Two Minutes to Late Night, Jordan Olds (aka Gwarsenio Hall), spearheaded some nifty entertainment during the height of the pandemic. Snapping up the limited release digital covers EPs during Bandcamp Fridays allowed me to net some cool stuff. Olds and a host of musicians, including Chelsea Wolfe and members of Dillinger Escape Plan, Mastodon, Mutoid Man, Royal Thunder, and Baroness amongst others, put their wacky spin on a variety of metal anthems and other classic tunes. Olds demonstrated his own impressive musical talents with axe and mic. Keen to substitute his comedic background for a darker, decidedly more serious musical quest, Olds unleashes his Blood Vulture project, crafting a curious debut album entitled Die Close. Boasting a doomy, gloomy, though deceptively versatile and hard-hitting opus, can Blood Vulture muster up the chops and songwriting substance to match the style and impressive musicianship? Die Close features an intriguing melting pot of styles and influences. Doom forms the beating heart of the beast, complimented by elements of sludge, ’90s grunge/alt rock, moody, scarlet dappled Goth, and a touch of camp. Influences are worn proudly on sleeves. Channeling the raw heft of Crowbar, somber hues of contemporary doom heavyweights Khemmis and Pallbearer, along with the addictive harmonies of Alice In Chains, there is nary a dull moment. Blood Vulture boast the songwriting sparks to rise above derivation. Temptation to load up his debut with a convoluted cast of musical guests and friends would have been high. On this front, star power features, but is not overdone, including contributions from Jade Puget (AFI), Shadows Fall frontman Brian Fall, and Kristin Hayter (Reverend Kristin Michael Hayter, Lingua Ignota). Meanwhile, Stephen Brodsky (Cave In, Mutoid Man) and friends lend vocal harmonies on the excellent “Die Close: Finale,” a brooding, grungy, and uplifting closer. Outside of these carefully curated guest spots, by all accounts Olds handles tasks single-handedly, including vocals, guitars, bass, and synths, aided by drummer Moe Watson. Following a shortish, mood-setting opener, Die Close kicks in proper via the leaden sludge-doom riffage and infectious Jerry Cantrell-esque vocal hooks on “An Embrace in the Flood.” The song’s straightforward building blocks deftly shift through surprising turns, including a brief barrage of blast beats and cascading solo, coupled with gorgeous vocal harmonies. A powerful melodic current flows through the album, exemplified through Old’s versatile clean vox, array of elegant solos, and mood-driven, shadowy synths. However, the melodic elements are powerfully counterpunched by a foundation of meaty doom and sludge riffs, lending the album its heavier, weighty edge. Substantial heft dominates the riff palette, heavily featured on cuts such as the gritty crunch of “Grey Mourning,” and the storming throes of “Abomination.” Blood Vulture’s versatility and knack for infectious songcraft shine. Swathed in dreamy atmospheres and built upon a sturdy foundation of grinding riffs, “Entwined” features a wonderful dual vocal performance from Olds and Hayter, the latter’s dramatic, ghostly presence a highlight.For all its notable strengths, gripping guitar work, and towering hooks, Die Close has a few hiccups expected from a debut album. The two shorter introductory and interlude pieces are decent enough, yet ultimately disposable, while the stronger moments and soaring melodies on the Gothy melodrama of “A Dream About Starving to Death” are tripped up by some overly goofy lyrical and vocal turns. Nevertheless, outside of these minor sore spots, Die Close is consistently entertaining and occasionally gripping at its potent best. Olds still displays some tongue-in-cheek humor and horror shtick, also reflected in the accompanying music videos, though overall, Die Close is a dark and brooding album. Expectedly, Olds is the star of the show, defined by his excellent guitar work and standout vocals. Vocally, Olds shifts between several modes, showcasing solid range, character, and emotional depth.
Blood Vulture came from nowhere, unleashing a fresh, emotive and punchy blast of doomy heft, blockbuster hooks and haunting harmonies. Bolstered by stellar performances and addictive songwriting, where the album’s earwormy hooks and stronger material showcase Olds as a serious artist on the rise, Die Close signals an assured and confident debut. A few kinks aside, Die Close is a hugely enjoyable album that’s well worth a listen and should cement Blood Vulture as an exciting new voice in the doomsphere.
Rating: 3,5/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Pure Noise Records
Websites: Bandcamp | Facebook
Releases Worldwide: June 27th, 2025#2025 #35 #AFI #AmericanMetal #BloodVulture #CaveIn #ChelseaWolfe #Crowbar #DieClose #DillingerEscapePlan #DoomMetal #Grunge #LinguaIgnota #Mastodon #MutoidMan #PureNoiseRecords #ReverendKristinMichaelHayter #Review #Reviews #RoyalThunder #ShadowsFall #Sludge
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Blood Vulture – Die Close Review
By Saunders
Corpse-painted host and comedian of metal show Two Minutes to Late Night, Jordan Olds (aka Gwarsenio Hall), spearheaded some nifty entertainment during the height of the pandemic. Snapping up the limited release digital covers EPs during Bandcamp Fridays allowed me to net some cool stuff. Olds and a host of musicians, including Chelsea Wolfe and members of Dillinger Escape Plan, Mastodon, Mutoid Man, Royal Thunder, and Baroness amongst others, put their wacky spin on a variety of metal anthems and other classic tunes. Olds demonstrated his own impressive musical talents with axe and mic. Keen to substitute his comedic background for a darker, decidedly more serious musical quest, Olds unleashes his Blood Vulture project, crafting a curious debut album entitled Die Close. Boasting a doomy, gloomy, though deceptively versatile and hard-hitting opus, can Blood Vulture muster up the chops and songwriting substance to match the style and impressive musicianship? Die Close features an intriguing melting pot of styles and influences. Doom forms the beating heart of the beast, complimented by elements of sludge, ’90s grunge/alt rock, moody, scarlet dappled Goth, and a touch of camp. Influences are worn proudly on sleeves. Channeling the raw heft of Crowbar, somber hues of contemporary doom heavyweights Khemmis and Pallbearer, along with the addictive harmonies of Alice In Chains, there is nary a dull moment. Blood Vulture boast the songwriting sparks to rise above derivation. Temptation to load up his debut with a convoluted cast of musical guests and friends would have been high. On this front, star power features, but is not overdone, including contributions from Jade Puget (AFI), Shadows Fall frontman Brian Fall, and Kristin Hayter (Reverend Kristin Michael Hayter, Lingua Ignota). Meanwhile, Stephen Brodsky (Cave In, Mutoid Man) and friends lend vocal harmonies on the excellent “Die Close: Finale,” a brooding, grungy, and uplifting closer. Outside of these carefully curated guest spots, by all accounts Olds handles tasks single-handedly, including vocals, guitars, bass, and synths, aided by drummer Moe Watson. Following a shortish, mood-setting opener, Die Close kicks in proper via the leaden sludge-doom riffage and infectious Jerry Cantrell-esque vocal hooks on “An Embrace in the Flood.” The song’s straightforward building blocks deftly shift through surprising turns, including a brief barrage of blast beats and cascading solo, coupled with gorgeous vocal harmonies. A powerful melodic current flows through the album, exemplified through Old’s versatile clean vox, array of elegant solos, and mood-driven, shadowy synths. However, the melodic elements are powerfully counterpunched by a foundation of meaty doom and sludge riffs, lending the album its heavier, weighty edge. Substantial heft dominates the riff palette, heavily featured on cuts such as the gritty crunch of “Grey Mourning,” and the storming throes of “Abomination.” Blood Vulture’s versatility and knack for infectious songcraft shine. Swathed in dreamy atmospheres and built upon a sturdy foundation of grinding riffs, “Entwined” features a wonderful dual vocal performance from Olds and Hayter, the latter’s dramatic, ghostly presence a highlight.For all its notable strengths, gripping guitar work, and towering hooks, Die Close has a few hiccups expected from a debut album. The two shorter introductory and interlude pieces are decent enough, yet ultimately disposable, while the stronger moments and soaring melodies on the Gothy melodrama of “A Dream About Starving to Death” are tripped up by some overly goofy lyrical and vocal turns. Nevertheless, outside of these minor sore spots, Die Close is consistently entertaining and occasionally gripping at its potent best. Olds still displays some tongue-in-cheek humor and horror shtick, also reflected in the accompanying music videos, though overall, Die Close is a dark and brooding album. Expectedly, Olds is the star of the show, defined by his excellent guitar work and standout vocals. Vocally, Olds shifts between several modes, showcasing solid range, character, and emotional depth.
Blood Vulture came from nowhere, unleashing a fresh, emotive and punchy blast of doomy heft, blockbuster hooks and haunting harmonies. Bolstered by stellar performances and addictive songwriting, where the album’s earwormy hooks and stronger material showcase Olds as a serious artist on the rise, Die Close signals an assured and confident debut. A few kinks aside, Die Close is a hugely enjoyable album that’s well worth a listen and should cement Blood Vulture as an exciting new voice in the doomsphere.
Rating: 3,5/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Pure Noise Records
Websites: Bandcamp | Facebook
Releases Worldwide: June 27th, 2025#2025 #35 #AFI #AmericanMetal #BloodVulture #CaveIn #ChelseaWolfe #Crowbar #DieClose #DillingerEscapePlan #DoomMetal #Grunge #LinguaIgnota #Mastodon #MutoidMan #PureNoiseRecords #ReverendKristinMichaelHayter #Review #Reviews #RoyalThunder #ShadowsFall #Sludge
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Blood Vulture – Die Close Review
By Saunders
Corpse-painted host and comedian of metal show Two Minutes to Late Night, Jordan Olds (aka Gwarsenio Hall), spearheaded some nifty entertainment during the height of the pandemic. Snapping up the limited release digital covers EPs during Bandcamp Fridays allowed me to net some cool stuff. Olds and a host of musicians, including Chelsea Wolfe and members of Dillinger Escape Plan, Mastodon, Mutoid Man, Royal Thunder, and Baroness amongst others, put their wacky spin on a variety of metal anthems and other classic tunes. Olds demonstrated his own impressive musical talents with axe and mic. Keen to substitute his comedic background for a darker, decidedly more serious musical quest, Olds unleashes his Blood Vulture project, crafting a curious debut album entitled Die Close. Boasting a doomy, gloomy, though deceptively versatile and hard-hitting opus, can Blood Vulture muster up the chops and songwriting substance to match the style and impressive musicianship? Die Close features an intriguing melting pot of styles and influences. Doom forms the beating heart of the beast, complimented by elements of sludge, ’90s grunge/alt rock, moody, scarlet dappled Goth, and a touch of camp. Influences are worn proudly on sleeves. Channeling the raw heft of Crowbar, somber hues of contemporary doom heavyweights Khemmis and Pallbearer, along with the addictive harmonies of Alice In Chains, there is nary a dull moment. Blood Vulture boast the songwriting sparks to rise above derivation. Temptation to load up his debut with a convoluted cast of musical guests and friends would have been high. On this front, star power features, but is not overdone, including contributions from Jade Puget (AFI), Shadows Fall frontman Brian Fall, and Kristin Hayter (Reverend Kristin Michael Hayter, Lingua Ignota). Meanwhile, Stephen Brodsky (Cave In, Mutoid Man) and friends lend vocal harmonies on the excellent “Die Close: Finale,” a brooding, grungy, and uplifting closer. Outside of these carefully curated guest spots, by all accounts Olds handles tasks single-handedly, including vocals, guitars, bass, and synths, aided by drummer Moe Watson. Following a shortish, mood-setting opener, Die Close kicks in proper via the leaden sludge-doom riffage and infectious Jerry Cantrell-esque vocal hooks on “An Embrace in the Flood.” The song’s straightforward building blocks deftly shift through surprising turns, including a brief barrage of blast beats and cascading solo, coupled with gorgeous vocal harmonies. A powerful melodic current flows through the album, exemplified through Old’s versatile clean vox, array of elegant solos, and mood-driven, shadowy synths. However, the melodic elements are powerfully counterpunched by a foundation of meaty doom and sludge riffs, lending the album its heavier, weighty edge. Substantial heft dominates the riff palette, heavily featured on cuts such as the gritty crunch of “Grey Mourning,” and the storming throes of “Abomination.” Blood Vulture’s versatility and knack for infectious songcraft shine. Swathed in dreamy atmospheres and built upon a sturdy foundation of grinding riffs, “Entwined” features a wonderful dual vocal performance from Olds and Hayter, the latter’s dramatic, ghostly presence a highlight.For all its notable strengths, gripping guitar work, and towering hooks, Die Close has a few hiccups expected from a debut album. The two shorter introductory and interlude pieces are decent enough, yet ultimately disposable, while the stronger moments and soaring melodies on the Gothy melodrama of “A Dream About Starving to Death” are tripped up by some overly goofy lyrical and vocal turns. Nevertheless, outside of these minor sore spots, Die Close is consistently entertaining and occasionally gripping at its potent best. Olds still displays some tongue-in-cheek humor and horror shtick, also reflected in the accompanying music videos, though overall, Die Close is a dark and brooding album. Expectedly, Olds is the star of the show, defined by his excellent guitar work and standout vocals. Vocally, Olds shifts between several modes, showcasing solid range, character, and emotional depth.
Blood Vulture came from nowhere, unleashing a fresh, emotive and punchy blast of doomy heft, blockbuster hooks and haunting harmonies. Bolstered by stellar performances and addictive songwriting, where the album’s earwormy hooks and stronger material showcase Olds as a serious artist on the rise, Die Close signals an assured and confident debut. A few kinks aside, Die Close is a hugely enjoyable album that’s well worth a listen and should cement Blood Vulture as an exciting new voice in the doomsphere.
Rating: 3,5/5.0
DR: 5 | Format Reviewed: 320 kbps mp3
Label: Pure Noise Records
Websites: Bandcamp | Facebook
Releases Worldwide: June 27th, 2025#2025 #35 #AFI #AmericanMetal #BloodVulture #CaveIn #ChelseaWolfe #Crowbar #DieClose #DillingerEscapePlan #DoomMetal #Grunge #LinguaIgnota #Mastodon #MutoidMan #PureNoiseRecords #ReverendKristinMichaelHayter #Review #Reviews #RoyalThunder #ShadowsFall #Sludge
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New Found Glory sign to Pure Noise, release 7" to celebrate
https://www.scenepointblank.com/news/labels/2025/05/04/new-found-glory-and-pure-noise
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Knocked Loose – You Won’t Go Before You’re Supposed To [Things You Might Have Missed 2024]
By Dear Hollow
Is the hype surrounding Knocked Loose legit? Making (perhaps unwanted) waves with that “arf arf arf” breakdown in “Counting Worms” and waking babies, and “being woke,”1 with an appearance on Jimmy Kimmel Live! with collaborator Poppy, the Kentucky group is getting its fair share of backlash and praise in equal measure. It’s easy to approach You Won’t Go Before You’re Supposed To in this light, but the novelty is merely a facet of the album. In many ways, the act’s third full-length is a continuation of 2016’s bruising Laugh Tracks or 2019’s sludge-inflected A Different Shade of Blue, but an altogether more mature and heftier affair. Yes, Poppy’s witchy shrieks and haunting croons appear in a breakdown buildup in “Suffocate” and Chris Motionless from Motionless in White rears his Gothy nu-metal head in “Slaughterhouse 2,” but beneath the radio-friendly gloss is an album dedicated to tragedy and grit.
As always, Knocked Loose balances its appropriately suffocating beatdown hardcore instrumentals with a three-prong vocal attack, helmed by the feral shrieks of Bryan Garris.2 Featuring frantic Converge-esque choruses (“Thirst,” “Piece by Piece”), mammoth breakdowns (“Don’t Reach for Me,” “Blinding Faith,” “The Calm That Keeps You Awake”), and their novelty pieces of guest vocalists add a refreshing change of pace to what could have been a monotonous meltdown. Alongside Garris’ unmistakable vocals, guitarists Isaac Hale and Nicko Calderon lend guttural roars and hardcore fry vocals respectively, injecting a jolt of white-hot energy to songs like “Thirst” and “Don’t Reach for Me.” While Knocked Loose theoretically approaches You Won’t Go Before You’re Supposed To with a traditional beatdown template a la Gideon and Bulldoze, its brutality and intensity are felt through every movement.
You Won’t Go Before You’re Supposed To features a skull-crushing breed of hardcore, but nuance is added when Knocked Loose embraces the haunting – a hum cutting through the relentless storm. Utilizing eerie leads and instrumental stillness, evocative lyrics of homesickness, desolation, and meaninglessness are enacted with musical allegory. Tracks that utilize this more contemplative aura (“Moss Covers All,” its sequel “Take Me Home,” “Sit & Mourn”) reflect the solemnity of their titles and the eeriness of the album art in a pummeling yet haunting approach reminiscent of last year’s The Acacia Strain, reflecting a deeper and more tragic intention beyond the mindless hardcore beatdowns. Buried beneath the blastbeats and frantic vocals lies an existential weight tied to its lyrics, the recurring theme of unearthing roots and dismantling family patterns is accomplished mightily through these tracks, further bolstered by tasteful samples.3 You Won’t Go Before You’re Supposed To is more than just mindless intensity.
Yes, Knocked Loose is here to kick your teeth in, but it’s not as simple as a senseless hardcore beatdown punishment. You Won’t Go Before You’re Supposed To is a multilayered album, easy to dismiss due to its Octane Radio-friendly novelty in “Suffocate” and “Slaughterhouse 2” or its mind-numbing chugs and breakdowns strewn with reckless abandon, but it incorporates just enough haunting experimentation and heartfelt lyricism to give purpose to the punishment. Undoubtedly a divisive release this year, but Knocked Loose balances blind aggression and thoughtful flourishes like a steel-toed boot to the throat in a dense forest at night. So watch your back.
Tracks to Check Out: ”Suffocate,” “Take Me Home,” “Blinding Faith,” and “Sit & Mourn.”
#2024 #AmericanMetal #Bulldoze #Converge #Gideon #HardcorePunk #JudyPerkins #KnockedLoose #Metalcore #MotionlessInWhite #Poppy #PureNoiseRecords #RexAllen #TheAcaciaStrain #ThingsYouMightHaveMissed #ThingsYouMightHaveMissed2024 #TYMHM #YouWonTGoBeforeYouReSupposedTo
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Knocked Loose – You Won’t Go Before You’re Supposed To [Things You Might Have Missed 2024]
By Dear Hollow
Is the hype surrounding Knocked Loose legit? Making (perhaps unwanted) waves with that “arf arf arf” breakdown in “Counting Worms” and waking babies, and “being woke,”1 with an appearance on Jimmy Kimmel Live! with collaborator Poppy, the Kentucky group is getting its fair share of backlash and praise in equal measure. It’s easy to approach You Won’t Go Before You’re Supposed To in this light, but the novelty is merely a facet of the album. In many ways, the act’s third full-length is a continuation of 2016’s bruising Laugh Tracks or 2019’s sludge-inflected A Different Shade of Blue, but an altogether more mature and heftier affair. Yes, Poppy’s witchy shrieks and haunting croons appear in a breakdown buildup in “Suffocate” and Chris Motionless from Motionless in White rears his Gothy nu-metal head in “Slaughterhouse 2,” but beneath the radio-friendly gloss is an album dedicated to tragedy and grit.
As always, Knocked Loose balances its appropriately suffocating beatdown hardcore instrumentals with a three-prong vocal attack, helmed by the feral shrieks of Bryan Garris.2 Featuring frantic Converge-esque choruses (“Thirst,” “Piece by Piece”), mammoth breakdowns (“Don’t Reach for Me,” “Blinding Faith,” “The Calm That Keeps You Awake”), and their novelty pieces of guest vocalists add a refreshing change of pace to what could have been a monotonous meltdown. Alongside Garris’ unmistakable vocals, guitarists Isaac Hale and Nicko Calderon lend guttural roars and hardcore fry vocals respectively, injecting a jolt of white-hot energy to songs like “Thirst” and “Don’t Reach for Me.” While Knocked Loose theoretically approaches You Won’t Go Before You’re Supposed To with a traditional beatdown template a la Gideon and Bulldoze, its brutality and intensity are felt through every movement.
You Won’t Go Before You’re Supposed To features a skull-crushing breed of hardcore, but nuance is added when Knocked Loose embraces the haunting – a hum cutting through the relentless storm. Utilizing eerie leads and instrumental stillness, evocative lyrics of homesickness, desolation, and meaninglessness are enacted with musical allegory. Tracks that utilize this more contemplative aura (“Moss Covers All,” its sequel “Take Me Home,” “Sit & Mourn”) reflect the solemnity of their titles and the eeriness of the album art in a pummeling yet haunting approach reminiscent of last year’s The Acacia Strain, reflecting a deeper and more tragic intention beyond the mindless hardcore beatdowns. Buried beneath the blastbeats and frantic vocals lies an existential weight tied to its lyrics, the recurring theme of unearthing roots and dismantling family patterns is accomplished mightily through these tracks, further bolstered by tasteful samples.3 You Won’t Go Before You’re Supposed To is more than just mindless intensity.
Yes, Knocked Loose is here to kick your teeth in, but it’s not as simple as a senseless hardcore beatdown punishment. You Won’t Go Before You’re Supposed To is a multilayered album, easy to dismiss due to its Octane Radio-friendly novelty in “Suffocate” and “Slaughterhouse 2” or its mind-numbing chugs and breakdowns strewn with reckless abandon, but it incorporates just enough haunting experimentation and heartfelt lyricism to give purpose to the punishment. Undoubtedly a divisive release this year, but Knocked Loose balances blind aggression and thoughtful flourishes like a steel-toed boot to the throat in a dense forest at night. So watch your back.
Tracks to Check Out: ”Suffocate,” “Take Me Home,” “Blinding Faith,” and “Sit & Mourn.”
#2024 #AmericanMetal #Bulldoze #Converge #Gideon #HardcorePunk #JudyPerkins #KnockedLoose #Metalcore #MotionlessInWhite #Poppy #PureNoiseRecords #RexAllen #TheAcaciaStrain #ThingsYouMightHaveMissed #ThingsYouMightHaveMissed2024 #TYMHM #YouWonTGoBeforeYouReSupposedTo
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Knocked Loose – You Won’t Go Before You’re Supposed To [Things You Might Have Missed 2024]
By Dear Hollow
Is the hype surrounding Knocked Loose legit? Making (perhaps unwanted) waves with that “arf arf arf” breakdown in “Counting Worms” and waking babies, and “being woke,”1 with an appearance on Jimmy Kimmel Live! with collaborator Poppy, the Kentucky group is getting its fair share of backlash and praise in equal measure. It’s easy to approach You Won’t Go Before You’re Supposed To in this light, but the novelty is merely a facet of the album. In many ways, the act’s third full-length is a continuation of 2016’s bruising Laugh Tracks or 2019’s sludge-inflected A Different Shade of Blue, but an altogether more mature and heftier affair. Yes, Poppy’s witchy shrieks and haunting croons appear in a breakdown buildup in “Suffocate” and Chris Motionless from Motionless in White rears his Gothy nu-metal head in “Slaughterhouse 2,” but beneath the radio-friendly gloss is an album dedicated to tragedy and grit.
As always, Knocked Loose balances its appropriately suffocating beatdown hardcore instrumentals with a three-prong vocal attack, helmed by the feral shrieks of Bryan Garris.2 Featuring frantic Converge-esque choruses (“Thirst,” “Piece by Piece”), mammoth breakdowns (“Don’t Reach for Me,” “Blinding Faith,” “The Calm That Keeps You Awake”), and their novelty pieces of guest vocalists add a refreshing change of pace to what could have been a monotonous meltdown. Alongside Garris’ unmistakable vocals, guitarists Isaac Hale and Nicko Calderon lend guttural roars and hardcore fry vocals respectively, injecting a jolt of white-hot energy to songs like “Thirst” and “Don’t Reach for Me.” While Knocked Loose theoretically approaches You Won’t Go Before You’re Supposed To with a traditional beatdown template a la Gideon and Bulldoze, its brutality and intensity are felt through every movement.
You Won’t Go Before You’re Supposed To features a skull-crushing breed of hardcore, but nuance is added when Knocked Loose embraces the haunting – a hum cutting through the relentless storm. Utilizing eerie leads and instrumental stillness, evocative lyrics of homesickness, desolation, and meaninglessness are enacted with musical allegory. Tracks that utilize this more contemplative aura (“Moss Covers All,” its sequel “Take Me Home,” “Sit & Mourn”) reflect the solemnity of their titles and the eeriness of the album art in a pummeling yet haunting approach reminiscent of last year’s The Acacia Strain, reflecting a deeper and more tragic intention beyond the mindless hardcore beatdowns. Buried beneath the blastbeats and frantic vocals lies an existential weight tied to its lyrics, the recurring theme of unearthing roots and dismantling family patterns is accomplished mightily through these tracks, further bolstered by tasteful samples.3 You Won’t Go Before You’re Supposed To is more than just mindless intensity.
Yes, Knocked Loose is here to kick your teeth in, but it’s not as simple as a senseless hardcore beatdown punishment. You Won’t Go Before You’re Supposed To is a multilayered album, easy to dismiss due to its Octane Radio-friendly novelty in “Suffocate” and “Slaughterhouse 2” or its mind-numbing chugs and breakdowns strewn with reckless abandon, but it incorporates just enough haunting experimentation and heartfelt lyricism to give purpose to the punishment. Undoubtedly a divisive release this year, but Knocked Loose balances blind aggression and thoughtful flourishes like a steel-toed boot to the throat in a dense forest at night. So watch your back.
Tracks to Check Out: ”Suffocate,” “Take Me Home,” “Blinding Faith,” and “Sit & Mourn.”
#2024 #AmericanMetal #Bulldoze #Converge #Gideon #HardcorePunk #JudyPerkins #KnockedLoose #Metalcore #MotionlessInWhite #Poppy #PureNoiseRecords #RexAllen #TheAcaciaStrain #ThingsYouMightHaveMissed #ThingsYouMightHaveMissed2024 #TYMHM #YouWonTGoBeforeYouReSupposedTo
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Less Than Jake has a brand new song called "Brand New Day."
Check it out here: https://song.link/us/i/1759214457
...
It's pretty good.
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Hear Cloud Nothings cover Misfits, ’68 cover Beastie Boys & more on new Pure Noise covers comp
#music #PunkRock #IndieRock #CloudNothings #Misfits #BeastieBoys #PureNoiseRecords
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“#bearings #purenoiserecords #poppunk” / “Bearings "Stormy Weather"” (1 user) https://www.youtube.com/watch?v=W-bI79jsVQg
#YouTube -
Slimmed down to a four-piece, Delaware straight-edge band Year Of The Knife are back with a new set of songs and a new singer, but the same punishingly raw approach to metallic hardcore.
https://www.punktuationmag.com/year-of-the-knife-singer-dust-to-dust-ep
#music #punk #PunkRock #HardcorePunk #PunkHardcore #MetalicHardcore #StraightEdge #YearOfTheKnife #PureNoise #PureNoiseRecords