#riseagainst — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #riseagainst, aggregated by home.social.
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Triangle Big Ticket Event Guide September 22–28, 2026 Edition
The Triangle’s concert and comedy calendar for September 22–28, 2026, includes Shaboozey, Lil Wayne & 2 Chainz, ZZ Top & Dwight Yoakam, Rise Against, Suki Waterhouse, and a full lineup of theater and club performances.
This week’s Triangle Big Ticket Event Guide covers Raleigh, Durham, Cary, Chapel Hill, and Carrboro, plus nearby outings in Fayetteville, Pinehurst, Liberty, Selma, and Littleton. Comedy fans have options throughout the week, including Bruce Bruce, Nate Jackson, Jordan Jensen, Becky Robinson, and Nateland Live.
Tuesday, September 22- GoldFord — 7 p.m. at The Ritz, Raleigh.
- Shaboozey — 8 p.m. at Red Hat Amphitheater, Raleigh.
- Margaret Glaspy — 8 p.m. at Cat’s Cradle, Carrboro.
Wednesday, September 23Wednesday’s schedule includes an early start at The Ritz and several evening concerts across the Triangle. J. Cole’s listed performance offers an additional option in Fayetteville.
- Taste of Chaos: Hollywood Undead & In This Moment — 4 p.m. at The Ritz, Raleigh.
- J. Cole — 8 p.m. at Crown Coliseum at The Crown Center, Fayetteville.
- Joe Nunnink — 8 p.m. at Room 861 at Goodnights Comedy Club, Raleigh.
- Hot Flash Heat Wave — 8 p.m. at Local 506, Chapel Hill.
- Katie Pruitt — 8 p.m. at The Lincoln Theatre, Raleigh.
- Son Little — 8 p.m. at Cat’s Cradle Back Room, Carrboro.
Thursday, September 24ZZ Top and Dwight Yoakam headline Thursday’s Cary lineup, while Raleigh offers comedy and Chapel Hill and Carrboro host club concerts.
- ZZ Top & Dwight Yoakam — 7 p.m. at Koka Booth Amphitheatre at Regency Park, Cary.
- Gaurav Kapoor — In Hindi — 7 p.m. at Goodnights Comedy Club, Raleigh.
- North Carolina Symphony: Carlos Miguel Prieto — Mendelssohn Violin Concerto — 7:30 p.m. at Owens Auditorium at Bradshaw Performing Arts Center, Pinehurst.
- Brent Blakeney — 7:30 p.m. at Room 861 at Goodnights Comedy Club, Raleigh.
- Damien Jurado — 8 p.m. at Cat’s Cradle Back Room, Carrboro.
- Jay Buchanan — 8 p.m. at Local 506, Chapel Hill.
Friday, September 25Friday begins with a noon North Carolina Symphony performance in downtown Raleigh. Evening options include W.A.S.P. & KK’s Priest, Glaive, Reverend Horton Heat, and multiple comedy showtimes.
- North Carolina Symphony: Carlos Miguel Prieto — Mendelssohn Violin Concerto — Noon at Meymandi Concert Hall, Martin Marietta Center for the Performing Arts, Raleigh.
- Bruce Bruce — 7 p.m. and 9:15 p.m. at Goodnights Comedy Club, Raleigh.
- Jeffrey Keller — 7:30 p.m. and 9:45 p.m. at Room 861 at Goodnights Comedy Club, Raleigh.
- W.A.S.P. & KK’s Priest — 8 p.m. at The Ritz, Raleigh.
- Glaive — 8 p.m. at The Lincoln Theatre, Raleigh.
- Reverend Horton Heat — 8 p.m. at Cat’s Cradle, Carrboro.
- Bebe Stockwell — 8 p.m. at Cat’s Cradle Back Room, Carrboro.
- The Hoppers — 8 p.m. at Liberty Showcase Theater, Liberty.
- R&B Rewind Millennial Edition — 8 p.m. at Raleigh Memorial Auditorium, Martin Marietta Center for the Performing Arts, Raleigh.
- Nate Jackson — 9:15 p.m. at Raleigh Improv, Cary.
Saturday, September 26Saturday brings two major outdoor concert options to Raleigh: Lil Wayne & 2 Chainz at Walnut Creek and Gov’t Mule & Ziggy Marley at Red Hat Amphitheater. Comedy performances span Raleigh and Durham, with additional music in Carrboro, Selma, and Littleton.
- Classic Country Jubilee — 6:45 p.m. at Rudy Theatre, Selma.
- Lil Wayne & 2 Chainz — 7 p.m. at Coastal Credit Union Music Park at Walnut Creek, Raleigh.
- Gov’t Mule & Ziggy Marley — 7 p.m. at Red Hat Amphitheater, Raleigh.
- Bruce Bruce — 7 p.m. and 9:30 p.m. at Goodnights Comedy Club, Raleigh.
- Nateland Live: Greg Warren, Ryan Hamilton, Julian McCullough & Trish Suhr — 7 p.m. at Meymandi Concert Hall, Martin Marietta Center for the Performing Arts, Raleigh.
- Landslide — A Tribute to Fleetwood Mac — 7:30 p.m. at Ed Fitts Outdoor Amphitheater at The Acorn Center, Littleton.
- Jordan Jensen — 8 p.m. at Carolina Theatre, Durham.
- Becky Robinson — 8 p.m. at Fletcher Opera Theater, Martin Marietta Center for the Performing Arts, Raleigh.
- Sawyer Hill — 8 p.m. at Cat’s Cradle, Carrboro.
- Jeffrey Keller — 10 p.m. at Room 861 at Goodnights Comedy Club, Raleigh.
- JGBCB — 11:15 p.m. at The Lincoln Theatre, Raleigh.
Sunday, September 27Keep the weekend going with Rise Against at Red Hat Amphitheater, Suki Waterhouse at The Ritz, or one of several smaller-venue performances.
- Rise Against — 6:30 p.m. at Red Hat Amphitheater, Raleigh.
- Bring Out Yer Dead — 7 p.m. at The Lincoln Theatre, Raleigh.
- Suki Waterhouse — 7 p.m. at The Ritz, Raleigh.
- Bruce Bruce — 7 p.m. at Goodnights Comedy Club, Raleigh.
- Megan Woods — 7 p.m. at Ed Fitts Outdoor Amphitheater at The Acorn Center, Littleton.
- Jeffrey Keller — 7:30 p.m. at Room 861 at Goodnights Comedy Club, Raleigh.
- We Rise to Fall — 8 p.m. at The Pour House Music Hall, Raleigh.
Monday, September 28The guide closes with three Monday concerts in Carrboro and Durham.
- Maggie Miles — 6:45 p.m. at Cat’s Cradle Back Room, Carrboro.
- Slothrust — 8 p.m. at Motorco Music Hall, Durham.
- Powerplant — 8 p.m. at The Pinhook, Durham.
Plan Your Triangle Concert or Comedy OutingTicket prices and availability were not included in the supplied listings. Check official venue or artist ticket pages for current availability, seating options, age restrictions, and entry policies. Confirm whether the listed time refers to doors opening or the performance itself.
All times are Eastern. Fayetteville, Pinehurst, Liberty, Selma, and Littleton events require travel beyond the central Triangle, so allow extra time when planning those outings.
Follow DoRaleigh.com for daily updates on government meetings, local festivals, and community happenings — your one-stop guide to everything Raleigh!
Connect With Us: Instagram | Facebook | BSky | Linkedin
Share With Us: Post your community News, Events, on our Submissions Page.
Advertise With Us: Interested in Advertising click here.Published by Bryan Tomlinson | BTDesigns.pro |
#2Chainz #CarrboroConcerts #CaryEvents #ChapelHillConcerts #DurhamConcerts #DwightYoakam #events #LilWayne #LiveMusic #News #NorthCarolinaSymphony #RaleighComedy #RaleighConcerts #RiseAgainst #September2026 #Shaboozey #SukiWaterhouse #TriangleEvents #ZZTop -
Triangle Big Ticket Event Guide September 22–28, 2026 Edition
The Triangle’s concert and comedy calendar for September 22–28, 2026, includes Shaboozey, Lil Wayne & 2 Chainz, ZZ Top & Dwight Yoakam, Rise Against, Suki Waterhouse, and a full lineup of theater and club performances.
This week’s Triangle Big Ticket Event Guide covers Raleigh, Durham, Cary, Chapel Hill, and Carrboro, plus nearby outings in Fayetteville, Pinehurst, Liberty, Selma, and Littleton. Comedy fans have options throughout the week, including Bruce Bruce, Nate Jackson, Jordan Jensen, Becky Robinson, and Nateland Live.
Tuesday, September 22- GoldFord — 7 p.m. at The Ritz, Raleigh.
- Shaboozey — 8 p.m. at Red Hat Amphitheater, Raleigh.
- Margaret Glaspy — 8 p.m. at Cat’s Cradle, Carrboro.
Wednesday, September 23Wednesday’s schedule includes an early start at The Ritz and several evening concerts across the Triangle. J. Cole’s listed performance offers an additional option in Fayetteville.
- Taste of Chaos: Hollywood Undead & In This Moment — 4 p.m. at The Ritz, Raleigh.
- J. Cole — 8 p.m. at Crown Coliseum at The Crown Center, Fayetteville.
- Joe Nunnink — 8 p.m. at Room 861 at Goodnights Comedy Club, Raleigh.
- Hot Flash Heat Wave — 8 p.m. at Local 506, Chapel Hill.
- Katie Pruitt — 8 p.m. at The Lincoln Theatre, Raleigh.
- Son Little — 8 p.m. at Cat’s Cradle Back Room, Carrboro.
Thursday, September 24ZZ Top and Dwight Yoakam headline Thursday’s Cary lineup, while Raleigh offers comedy and Chapel Hill and Carrboro host club concerts.
- ZZ Top & Dwight Yoakam — 7 p.m. at Koka Booth Amphitheatre at Regency Park, Cary.
- Gaurav Kapoor — In Hindi — 7 p.m. at Goodnights Comedy Club, Raleigh.
- North Carolina Symphony: Carlos Miguel Prieto — Mendelssohn Violin Concerto — 7:30 p.m. at Owens Auditorium at Bradshaw Performing Arts Center, Pinehurst.
- Brent Blakeney — 7:30 p.m. at Room 861 at Goodnights Comedy Club, Raleigh.
- Damien Jurado — 8 p.m. at Cat’s Cradle Back Room, Carrboro.
- Jay Buchanan — 8 p.m. at Local 506, Chapel Hill.
Friday, September 25Friday begins with a noon North Carolina Symphony performance in downtown Raleigh. Evening options include W.A.S.P. & KK’s Priest, Glaive, Reverend Horton Heat, and multiple comedy showtimes.
- North Carolina Symphony: Carlos Miguel Prieto — Mendelssohn Violin Concerto — Noon at Meymandi Concert Hall, Martin Marietta Center for the Performing Arts, Raleigh.
- Bruce Bruce — 7 p.m. and 9:15 p.m. at Goodnights Comedy Club, Raleigh.
- Jeffrey Keller — 7:30 p.m. and 9:45 p.m. at Room 861 at Goodnights Comedy Club, Raleigh.
- W.A.S.P. & KK’s Priest — 8 p.m. at The Ritz, Raleigh.
- Glaive — 8 p.m. at The Lincoln Theatre, Raleigh.
- Reverend Horton Heat — 8 p.m. at Cat’s Cradle, Carrboro.
- Bebe Stockwell — 8 p.m. at Cat’s Cradle Back Room, Carrboro.
- The Hoppers — 8 p.m. at Liberty Showcase Theater, Liberty.
- R&B Rewind Millennial Edition — 8 p.m. at Raleigh Memorial Auditorium, Martin Marietta Center for the Performing Arts, Raleigh.
- Nate Jackson — 9:15 p.m. at Raleigh Improv, Cary.
Saturday, September 26Saturday brings two major outdoor concert options to Raleigh: Lil Wayne & 2 Chainz at Walnut Creek and Gov’t Mule & Ziggy Marley at Red Hat Amphitheater. Comedy performances span Raleigh and Durham, with additional music in Carrboro, Selma, and Littleton.
- Classic Country Jubilee — 6:45 p.m. at Rudy Theatre, Selma.
- Lil Wayne & 2 Chainz — 7 p.m. at Coastal Credit Union Music Park at Walnut Creek, Raleigh.
- Gov’t Mule & Ziggy Marley — 7 p.m. at Red Hat Amphitheater, Raleigh.
- Bruce Bruce — 7 p.m. and 9:30 p.m. at Goodnights Comedy Club, Raleigh.
- Nateland Live: Greg Warren, Ryan Hamilton, Julian McCullough & Trish Suhr — 7 p.m. at Meymandi Concert Hall, Martin Marietta Center for the Performing Arts, Raleigh.
- Landslide — A Tribute to Fleetwood Mac — 7:30 p.m. at Ed Fitts Outdoor Amphitheater at The Acorn Center, Littleton.
- Jordan Jensen — 8 p.m. at Carolina Theatre, Durham.
- Becky Robinson — 8 p.m. at Fletcher Opera Theater, Martin Marietta Center for the Performing Arts, Raleigh.
- Sawyer Hill — 8 p.m. at Cat’s Cradle, Carrboro.
- Jeffrey Keller — 10 p.m. at Room 861 at Goodnights Comedy Club, Raleigh.
- JGBCB — 11:15 p.m. at The Lincoln Theatre, Raleigh.
Sunday, September 27Keep the weekend going with Rise Against at Red Hat Amphitheater, Suki Waterhouse at The Ritz, or one of several smaller-venue performances.
- Rise Against — 6:30 p.m. at Red Hat Amphitheater, Raleigh.
- Bring Out Yer Dead — 7 p.m. at The Lincoln Theatre, Raleigh.
- Suki Waterhouse — 7 p.m. at The Ritz, Raleigh.
- Bruce Bruce — 7 p.m. at Goodnights Comedy Club, Raleigh.
- Megan Woods — 7 p.m. at Ed Fitts Outdoor Amphitheater at The Acorn Center, Littleton.
- Jeffrey Keller — 7:30 p.m. at Room 861 at Goodnights Comedy Club, Raleigh.
- We Rise to Fall — 8 p.m. at The Pour House Music Hall, Raleigh.
Monday, September 28The guide closes with three Monday concerts in Carrboro and Durham.
- Maggie Miles — 6:45 p.m. at Cat’s Cradle Back Room, Carrboro.
- Slothrust — 8 p.m. at Motorco Music Hall, Durham.
- Powerplant — 8 p.m. at The Pinhook, Durham.
Plan Your Triangle Concert or Comedy OutingTicket prices and availability were not included in the supplied listings. Check official venue or artist ticket pages for current availability, seating options, age restrictions, and entry policies. Confirm whether the listed time refers to doors opening or the performance itself.
All times are Eastern. Fayetteville, Pinehurst, Liberty, Selma, and Littleton events require travel beyond the central Triangle, so allow extra time when planning those outings.
Follow DoRaleigh.com for daily updates on government meetings, local festivals, and community happenings — your one-stop guide to everything Raleigh!
Connect With Us: Instagram | Facebook | BSky | Linkedin
Share With Us: Post your community News, Events, on our Submissions Page.
Advertise With Us: Interested in Advertising click here.Published by Bryan Tomlinson | BTDesigns.pro |
#2Chainz #CarrboroConcerts #CaryEvents #ChapelHillConcerts #DurhamConcerts #DwightYoakam #events #LilWayne #LiveMusic #News #NorthCarolinaSymphony #RaleighComedy #RaleighConcerts #RiseAgainst #September2026 #Shaboozey #SukiWaterhouse #TriangleEvents #ZZTop -
Joe Principe explique por que Rise Against resgatou músicas antigas no Rock in Rio: ‘Significado diferente’
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https://www.europesays.com/at/385329/ Metal im TV: Zwei Mal AC/DC bei Arte, Vainstream im WDR #AC/DC #Arte #AT #Austria #Donington #Entertainment #Konzert #MetalImTV #Music #Musik #Österreich #RiseAgainst #SocialDistortion #Unterhaltung #Vainstream #WDR
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Rise Against tocou no Rock in Rio 2026 com instrumentos emprestados: ‘Nosso equipamento sumiu’
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🔴 LIVE NOW ON VORTEX
📻 Vortex Indie 🎸 (Indie pop, indie rock, classic rock)
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🎵 Rise Against - Nowhere Generation▶️ Écouter / Listen : VorteX [Radio]
https://lesonduvortex.net💬 Join us on Discord:
https://discord.gg/d82hJZBeDE -
🔴 LIVE NOW ON VORTEX
📻 Vortex Indie 🎸 (Indie pop, indie rock, classic rock)
──────────────
🎵 Rise Against - Nowhere Generation▶️ Écouter / Listen : VorteX [Radio]
https://lesonduvortex.net💬 Join us on Discord:
https://discord.gg/d82hJZBeDE -
https://www.europesays.com/ie/648105/ Bands Titling Songs After Other Bands: Wednesday, Lana Del Rey #Éire #Entertainment #IE #Ireland #Music #RiseAgainst #Townies #Wednesday(Band)
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Rise Against have dropped two new songs. “Katy Bar The Door” and “Living Undercover.”
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Rise Against have dropped two new songs. “Katy Bar The Door” and “Living Undercover.”
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Relaxed Sunday morning: Rise Against 🤘 Coffee ☕ And a list of blog tweaks to do and posts to finish.
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Relaxed Sunday morning: Rise Against 🤘 Coffee ☕ And a list of blog tweaks to do and posts to finish.
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Relaxed Sunday morning: Rise Against 🤘 Coffee ☕ And a list of blog tweaks to do and posts to finish.
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Relaxed Sunday morning: Rise Against 🤘 Coffee ☕ And a list of blog tweaks to do and posts to finish.
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🔴 LIVE NOW ON VORTEX
📻 Vortex Indie 🎸 (Indie pop, indie rock, classic rock)
──────────────
🎵 Rise Against - Satellite▶️ Écouter / Listen : VorteX [Radio]
https://lesonduvortex.net💬 Join us on Discord:
https://discord.gg/d82hJZBeDE -
🔴 LIVE NOW ON VORTEX
📻 Vortex Indie 🎸 (Indie pop, indie rock, classic rock)
──────────────
🎵 Rise Against - Satellite▶️ Écouter / Listen : VorteX [Radio]
https://lesonduvortex.net💬 Join us on Discord:
https://discord.gg/d82hJZBeDE -
This will fire you up for the rest of the day. A recent live set from Rise Against.
https://www.thatericalper.com/2026/07/23/video-rise-against-shares-blistering-hellfest-2026-performance-in-full/
#RiseAgainst #RockMusic -
This will fire you up for the rest of the day. A recent live set from Rise Against.
https://www.thatericalper.com/2026/07/23/video-rise-against-shares-blistering-hellfest-2026-performance-in-full/
#RiseAgainst #RockMusic -
This will fire you up for the rest of the day. A recent live set from Rise Against.
https://www.thatericalper.com/2026/07/23/video-rise-against-shares-blistering-hellfest-2026-performance-in-full/
#RiseAgainst #RockMusic -
This will fire you up for the rest of the day. A recent live set from Rise Against.
https://www.thatericalper.com/2026/07/23/video-rise-against-shares-blistering-hellfest-2026-performance-in-full/
#RiseAgainst #RockMusic -
This will fire you up for the rest of the day. A recent live set from Rise Against.
https://www.thatericalper.com/2026/07/23/video-rise-against-shares-blistering-hellfest-2026-performance-in-full/
#RiseAgainst #RockMusic -
📰 Neuer Blogeintrag: Deichbrand 2026
Am 16. bis 19. Juli 2026 fand dieses Jahr das Deichbrand-Festival bei Nordholz
https://blog.liz1337.de/2026/07/deichbrand-2026/
#Konzerte #100KiloHerz #Annisokay #Avralize #Beatsteaks #BeautyAndTheBeats #Cascada #Deichbrand #DropkickMurphys #DrunkenMasters #ElectricCallboy #FelixJaehn #Festival #Jet #Marteria #NicoSantos #NoAngels #OurMirage #PunkRockFactory #RiseAgainst #Scooter #SDP #SwissDieAndern #TheMolotovs #TheRasmus #WelshlyArms #Blog
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🔴 LIVE NOW ON VORTEX
📻 Vortex Indie 🎸 (Indie pop, indie rock, classic rock)
──────────────
🎵 Rise Against - Nowhere Generation▶️ Écouter / Listen : VorteX [Radio]
https://lesonduvortex.net💬 Join us on Discord:
https://discord.gg/d82hJZBeDE -
🔴 LIVE NOW ON VORTEX
📻 Vortex Indie 🎸 (Indie pop, indie rock, classic rock)
──────────────
🎵 Rise Against - Nowhere Generation▶️ Écouter / Listen : VorteX [Radio]
https://lesonduvortex.net💬 Join us on Discord:
https://discord.gg/d82hJZBeDE -
Deichbrand Festival 2026 🎶
📅 16.–19.07.2026
📍 Cuxhaven, Germany
🎸 Indie / Rock / Pop · from €176.50🔊 Sido, Electric Callboy, Rise Against, SDP & many more
🎧 Full playlist + 🎟 tickets: https://festivalplaylist.com#DeichbrandFestival2026 #Cuxhaven #Germany #Indie #Rock #Pop #Sido #ElectricCallboy #RiseAgainst #SDP #Scooter #Marteria #Deichbrand2026 #festival2026 #festival #livemusic #lineup #musicfestival
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Deichbrand Festival 2026 🎶
📅 16.–19.07.2026
📍 Cuxhaven, Germany
🎸 Indie / Rock / Pop · from €176.50🔊 Sido, Electric Callboy, Rise Against, SDP & many more
🎧 Full playlist + 🎟 tickets: https://festivalplaylist.com#DeichbrandFestival2026 #Cuxhaven #Germany #Indie #Rock #Pop #Sido #ElectricCallboy #RiseAgainst #SDP #Scooter #Marteria #Deichbrand2026 #festival2026 #festival #livemusic #lineup #musicfestival
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Deichbrand Festival 2026 🎶
📅 16.–19.07.2026
📍 Cuxhaven, Germany
🎸 Indie / Rock / Pop · from €176.50🔊 Sido, Electric Callboy, Rise Against, SDP & many more
🎧 Full playlist + 🎟 tickets: https://festivalplaylist.com#DeichbrandFestival2026 #Cuxhaven #Germany #Indie #Rock #Pop #Sido #ElectricCallboy #RiseAgainst #SDP #Scooter #Marteria #Deichbrand2026 #festival2026 #festival #livemusic #lineup #musicfestival
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Deichbrand Festival 2026 🎶
📅 16.–19.07.2026
📍 Cuxhaven, Germany
🎸 Indie / Rock / Pop · from €176.50🔊 Sido, Electric Callboy, Rise Against, SDP & many more
🎧 Full playlist + 🎟 tickets: https://festivalplaylist.com#DeichbrandFestival2026 #Cuxhaven #Germany #Indie #Rock #Pop #Sido #ElectricCallboy #RiseAgainst #SDP #Scooter #Marteria #Deichbrand2026 #festival2026 #festival #livemusic #lineup #musicfestival
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Deichbrand Festival 2026 🎶
📅 16.–19.07.2026
📍 Cuxhaven, Germany
🎸 Indie / Rock / Pop · from €176.50🔊 Sido, Electric Callboy, Rise Against, SDP & many more
🎧 Full playlist + 🎟 tickets: https://festivalplaylist.com#DeichbrandFestival2026 #Cuxhaven #Germany #Indie #Rock #Pop #Sido #ElectricCallboy #RiseAgainst #SDP #Scooter #Marteria #Deichbrand2026 #festival2026 #festival #livemusic #lineup #musicfestival
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Protest the Hero – Within Review By Andy-War-HallI spent much of the summer of 2020 languishing in my bedroom. There, I discovered new/new-to-me music at an unprecedented rate. Bat Out of Hell, Mana, Endarkenment, The Pagan Manifesto—escapism or catharsis, I needed it all. But one record stands out to me as the Covid album, and that’s Protest the Hero’s Palimpsest. A buckwild interrogation of the American Dream through historical reinterpretation via orchestral progressive metalcore, it took me away from the present moment while still working out the societal demons and frustrations that surrounded me. It’s dope. 2020 AOTY. Six years later, the Canucks are back, bearing their first independent release Within. With the perennial lineup of singer Rody Walker and guitarists Luke Hoskin and Tim MacMiller, joined by session bassist Cameron McLellan and drummer Nathan Bulla, can Protest the Hero capture the zeitgeist as they did back in those dark times?
Would you believe that Within is another frenetically bombastic opus of proggy, punky goodness? Well, you’d better! Protest the Hero haven’t skipped a beat when it comes to controlled chaos, slathering Within with winding, propulsive vocal runs, drum fills, and guitar tweedily-dweedilies. Echoes of Palimpsest’s symphonic grandeur remain in cuts like “Liberty Spike” and “Mouthpiece,” but Protest the Hero on Within take that grandiosity and hone it into a sharper, punkier blitz on “Fishhook” and “The Orchard,” recalling Rise Against or Propagandhi to me. But Protest the Hero also relishes in unadulterated progressive metal, bouncing around ridiculous rhythms on closer “The Mariner” and asking on “Grandfather’s Axe” what it’d sound like if At the Drive-In and Faith No More jammed over a Testament riff. Interludes “i. above” and “ii. below” offer brief but crucial respite, as Within has a ton to say and licks to play and only thirty-nine minutes to do so. Through Within, Protest the Hero take yet another massive, victorious step in their sonic evolution.
What sticks with me after every listen of Within is how gobsmackingly beautiful it sounds. Protest the Hero have long known how to tie heartstring-tugging melody into their compositions,1 but Within is exceptional even by their own standards. For how hectic the guitar runs on “Grandfather’s Axe” and “The Orchard” are, they still manage to raise goosebumps by their bespoke melodicism. At the core of Protest the Hero’s exquisiteness is Walker’s emotive vocals. Some may find his deliveries too eclectic, injecting enough bizarre inflections and hybrid clean-harsh lines for the average System of a Down song, but there’s no doubting the talent and heartfelt power behind his voice. Like on Palimpsest, Protest the Hero can send a song home in truly hair-raising fashion on Within, like in the fist-pumping conclusion of “Mouthpiece,” the chest-beating lamentations of “The Orchard,”2 or the emotionally-charged apex of “The Mariner.” In these climactic moments, Protest the Hero’s melodic sensibilities shine brightest.
Crucially, Within’s jitteriness and elegance are all in service to its lyrics and themes. Playing off the axiom of “As within, so without,” Protest the Hero explore how one’s outer world shapes one’s inner world. Songs on Within expound on this idea by existing in concert with each other. “Mouthpiece” proudly beats the “No War but Class War” drum while follow-up “Fishhook” details the speaker’s strident relationship with his crotchety old neighbor, complicating that call to unity. “Grandfather’s Axe” and “The Orchard” both deal with nostalgia, with the former seemingly about clinging to the past for personal identity3 while the latter wrestles with communal legacies being erased by capital greed. Finally, the final duo highlights the vitality of community for personal support and meaning; “Liberty Spike” sees what happens when someone is deprived of it, while “The Mariner” shows what happens when it saves someone. Every victory, every tragedy, every aching and bleeding heart Protest the Hero have to offer are in service to these ideas on Within. And man, it works.
I fell in love with Protest the Hero when it seemed society was dying. Within arrives to help remind me that Man’s Better Nature may one day win out. Within may not be as grand or thematically poignant as Palimpsest, but it’s leaner, more personal, and just as brazenly weird and charmingly earnest as Protest the Hero has ever been. Within can make you mad if you let it. It can make you weep internally and, if you’re given to that sort of thing, externally, too. Now go hug your mothers and quit being a dick to your neighbors!
Rating: Great!
DR: 74 | Format Reviewed: 256 kbps MP3
Label: Independent
Websites: protestthehero.ca | facebook.com/protestthehero | protestthehero.bandcamp.com
Releases Worldwide: July 17th, 2026Samguineous Maximus
Even for the largest artists in a particular subgenre, music is always a fight to maintain. Bands aren’t so much static guarantees as they are constant negotiations between careers, families, artistic stagnation, diminishing returns, and ever-present global enshittification. Protest the Hero is a band that understands this better than most, as the Canadian prog-metallers have endured significant stylistic and personnel changes over their 20+ year career. Their evolution has remained compelling, from the Dostoyevsky-inspired brashness of debut Kezia to the nautical expanse of Pacific Myth, but 2020’s Palimpsest represents their ultimate apotheosis. That record found Rody Walker holding a grim mirror to modern America, using vignettes from the nation’s past to illuminate its present calamities, while Luke Hoskin’s compositions finally gave those ideas the space and gravitas they demanded, bolstered by gorgeous orchestration. It felt like the culmination of the band’s musical evolution and remains one of my favorite albums of all time. Six years later, Within arrives with enormous shoes to fill. Despite another apparent personnel shift, it was reportedly composed much like its predecessor. So, how does it measure up—not only to Palimpsest, but to the rest of their formidable discography?
Within doesn’t follow directly in the sonic footsteps of its immediate predecessor; instead, it presents an awe-inspiring amalgamation of the band’s prior efforts, informed by the songwriting lessons showcased on Palimpsest. Protest the Hero still sound unmistakably like themselves, providing that signature blend of sugar-rush, major key energy, maximalist guitar pyrotechnics, and sneering operatic vocals resulting in their trademark punk-driven progressive metalcore. These songs mostly split the difference between the passion-forward, chaotic post-hardcore of Volition and the more considered songwriting acrobatics of Pacific Myth, then drape the whole thing in Palimpsest’s cinematic nuance—albeit with subtler, less telegraphed versions of that record’s customary third-quarter pullbacks. Across six proper tracks and two orchestral interludes, the band pinballs between ADHD-brain guitar catnip, absurdly sticky melodic choruses, and lyrical climaxes that detonate with undeniable pathos. What’s most impressive is how deftly PtH weaves these moments into cohesive compositions. The tracklist contains clear sonic distinctions, from gang-vocal-fueled punk onslaughts (“Grandfather’s Axe”) to wide-open, hook-driven expanses (“The Orchard”), yet each song pivots so naturally between contrasting sections that, even at peak instrumental maximalism, the result feels immediately listenable rather than merely “look-at-me” impressive.
It’s a given that the performances on this thing would be monstrous, but where PtH always excels is using their absurd technicality to augment the thematic push and pull of their compositions. Luke Hoskin’s insane guitar theatrics5 lend a sense of urgency and immediacy to a song like “Mouthpiece,” where intense single-note runs and grandiose tapping loops bring serious gravitas to an anthem decrying political division. Elsewhere, clipped jazz chords underscore the hopeful wistfulness of “The Orchard.” Hoskin remains a master of layering complex, interlocking guitar melodies and punctuating them with orchestral bursts, and the way every element coalesces around massive, show-stopping peaks—most notably during the climax of progtastic Haken-flecked closer “The Mariner”—never fails to sound both beautifully consonant and utterly jaw-dropping. On the kit, newcomer Nathan Bulla delivers an energetic performance rooted in punk beats, filling his ass off in close step with the strings and giving a classic, driving energy to cuts like the Propaghandi-laced “Fishhook.” All of this sets the stage for Rody Walker’s most confident vocal showing yet. He brings the same endlessly charismatic, sky-scraping voice we love him for, but varies his approach to meet each scintillating line, shifting fluidly between expressive, choked inflections, death growls, and rapid-fire delivery while sounding utterly earnest at every turn.
As its title suggests, Within is an album of personal reflection, with Walker using each song to examine both his own place and Protest the Hero’s place in a world where everything personal, including art and music, feels increasingly threatened by an uncaring, ever-worsening political reality. Walker has always worn his heart on his sleeve as a lyricist, and some listeners may find his directness a little much6, but given the deeply personal nature of this material, I’ll be damned if it isn’t some of the most hopelessly honest and immediately moving music I’ve heard all year. A powerful narrative and thematic current runs through the record as its focus shifts from explicitly political material (“Mouthpiece,” “Fishhook”) to the intersections of artistic legacy, imagined pasts, and nostalgic longing (“Grandfather’s Axe,” “The Orchard”), before arriving at metaphorical loss and the acceptance of one’s place in the world (“Liberty Spike,” “The Mariner”). Several nods to earlier PtH works deepen that reflection, from recurring water imagery recalling Pacific Myth to “The Mariner” directly reprising a melody from Palimpsest’s “The Migrant Mother.” Paired with the supremely effective music, these threads elevate Within into a mature career retrospective: a conscious attempt to confront the band’s legacy, decide what remains meaningful, and make peace with where it now stands.
Within is a very different Protest the Hero record from Palimpsest, but it is no less stunning, musically or thematically. On my first few listens, I wasn’t immediately sold on the more direct subject matter, shorter runtime, or less cinematic approach. With time, however, it has revealed itself as another brilliant jewel in the band’s already gilded crown; the affirmation of and justification of a continued legacy. This is an album that just feels like sheer catharsis. The kind that catches you off guard, works its way into your shower-singing rotation, and somehow leaves you misty-eyed after the twentieth spin.7 Within is a special record, one that repeatedly hammers the “big feels” button while sounding like impossibly earnest tech death for the beardless. Do yourself a favor and hear it.
Rating: 4.5/5.0
#2026 #40 #45 #AtTheDriveIn #CanadianMetal #FaithNoMore #Haken #IndependentRelease #Jul2026 #Metalcore #postPunk #ProgressiveMetal #Propagandhi #ProtestTheHero #Review #Reviews #RiseAgainst #SystemOfADown #Testament #Within -
Protest the Hero – Within Review By Andy-War-HallI spent much of the summer of 2020 languishing in my bedroom. There, I discovered new/new-to-me music at an unprecedented rate. Bat Out of Hell, Mana, Endarkenment, The Pagan Manifesto—escapism or catharsis, I needed it all. But one record stands out to me as the Covid album, and that’s Protest the Hero’s Palimpsest. A buckwild interrogation of the American Dream through historical reinterpretation via orchestral progressive metalcore, it took me away from the present moment while still working out the societal demons and frustrations that surrounded me. It’s dope. 2020 AOTY. Six years later, the Canucks are back, bearing their first independent release Within. With the perennial lineup of singer Rody Walker and guitarists Luke Hoskin and Tim MacMiller, joined by session bassist Cameron McLellan and drummer Nathan Bulla, can Protest the Hero capture the zeitgeist as they did back in those dark times?
Would you believe that Within is another frenetically bombastic opus of proggy, punky goodness? Well, you’d better! Protest the Hero haven’t skipped a beat when it comes to controlled chaos, slathering Within with winding, propulsive vocal runs, drum fills, and guitar tweedily-dweedilies. Echoes of Palimpsest’s symphonic grandeur remain in cuts like “Liberty Spike” and “Mouthpiece,” but Protest the Hero on Within take that grandiosity and hone it into a sharper, punkier blitz on “Fishhook” and “The Orchard,” recalling Rise Against or Propagandhi to me. But Protest the Hero also relishes in unadulterated progressive metal, bouncing around ridiculous rhythms on closer “The Mariner” and asking on “Grandfather’s Axe” what it’d sound like if At the Drive-In and Faith No More jammed over a Testament riff. Interludes “i. above” and “ii. below” offer brief but crucial respite, as Within has a ton to say and licks to play and only thirty-nine minutes to do so. Through Within, Protest the Hero take yet another massive, victorious step in their sonic evolution.
What sticks with me after every listen of Within is how gobsmackingly beautiful it sounds. Protest the Hero have long known how to tie heartstring-tugging melody into their compositions,1 but Within is exceptional even by their own standards. For how hectic the guitar runs on “Grandfather’s Axe” and “The Orchard” are, they still manage to raise goosebumps by their bespoke melodicism. At the core of Protest the Hero’s exquisiteness is Walker’s emotive vocals. Some may find his deliveries too eclectic, injecting enough bizarre inflections and hybrid clean-harsh lines for the average System of a Down song, but there’s no doubting the talent and heartfelt power behind his voice. Like on Palimpsest, Protest the Hero can send a song home in truly hair-raising fashion on Within, like in the fist-pumping conclusion of “Mouthpiece,” the chest-beating lamentations of “The Orchard,”2 or the emotionally-charged apex of “The Mariner.” In these climactic moments, Protest the Hero’s melodic sensibilities shine brightest.
Crucially, Within’s jitteriness and elegance are all in service to its lyrics and themes. Playing off the axiom of “As within, so without,” Protest the Hero explore how one’s outer world shapes one’s inner world. Songs on Within expound on this idea by existing in concert with each other. “Mouthpiece” proudly beats the “No War but Class War” drum while follow-up “Fishhook” details the speaker’s strident relationship with his crotchety old neighbor, complicating that call to unity. “Grandfather’s Axe” and “The Orchard” both deal with nostalgia, with the former seemingly about clinging to the past for personal identity3 while the latter wrestles with communal legacies being erased by capital greed. Finally, the final duo highlights the vitality of community for personal support and meaning; “Liberty Spike” sees what happens when someone is deprived of it, while “The Mariner” shows what happens when it saves someone. Every victory, every tragedy, every aching and bleeding heart Protest the Hero have to offer are in service to these ideas on Within. And man, it works.
I fell in love with Protest the Hero when it seemed society was dying. Within arrives to help remind me that Man’s Better Nature may one day win out. Within may not be as grand or thematically poignant as Palimpsest, but it’s leaner, more personal, and just as brazenly weird and charmingly earnest as Protest the Hero has ever been. Within can make you mad if you let it. It can make you weep internally and, if you’re given to that sort of thing, externally, too. Now go hug your mothers and quit being a dick to your neighbors!
Rating: Great!
DR: 74 | Format Reviewed: 256 kbps MP3
Label: Independent
Websites: protestthehero.ca | facebook.com/protestthehero | protestthehero.bandcamp.com
Releases Worldwide: July 17th, 2026Samguineous Maximus
Even for the largest artists in a particular subgenre, music is always a fight to maintain. Bands aren’t so much static guarantees as they are constant negotiations between careers, families, artistic stagnation, diminishing returns, and ever-present global enshittification. Protest the Hero is a band that understands this better than most, as the Canadian prog-metallers have endured significant stylistic and personnel changes over their 20+ year career. Their evolution has remained compelling, from the Dostoyevsky-inspired brashness of debut Kezia to the nautical expanse of Pacific Myth, but 2020’s Palimpsest represents their ultimate apotheosis. That record found Rody Walker holding a grim mirror to modern America, using vignettes from the nation’s past to illuminate its present calamities, while Luke Hoskin’s compositions finally gave those ideas the space and gravitas they demanded, bolstered by gorgeous orchestration. It felt like the culmination of the band’s musical evolution and remains one of my favorite albums of all time. Six years later, Within arrives with enormous shoes to fill. Despite another apparent personnel shift, it was reportedly composed much like its predecessor. So, how does it measure up—not only to Palimpsest, but to the rest of their formidable discography?
Within doesn’t follow directly in the sonic footsteps of its immediate predecessor; instead, it presents an awe-inspiring amalgamation of the band’s prior efforts, informed by the songwriting lessons showcased on Palimpsest. Protest the Hero still sound unmistakably like themselves, providing that signature blend of sugar-rush, major key energy, maximalist guitar pyrotechnics, and sneering operatic vocals resulting in their trademark punk-driven progressive metalcore. These songs mostly split the difference between the passion-forward, chaotic post-hardcore of Volition and the more considered songwriting acrobatics of Pacific Myth, then drape the whole thing in Palimpsest’s cinematic nuance—albeit with subtler, less telegraphed versions of that record’s customary third-quarter pullbacks. Across six proper tracks and two orchestral interludes, the band pinballs between ADHD-brain guitar catnip, absurdly sticky melodic choruses, and lyrical climaxes that detonate with undeniable pathos. What’s most impressive is how deftly PtH weaves these moments into cohesive compositions. The tracklist contains clear sonic distinctions, from gang-vocal-fueled punk onslaughts (“Grandfather’s Axe”) to wide-open, hook-driven expanses (“The Orchard”), yet each song pivots so naturally between contrasting sections that, even at peak instrumental maximalism, the result feels immediately listenable rather than merely “look-at-me” impressive.
It’s a given that the performances on this thing would be monstrous, but where PtH always excels is using their absurd technicality to augment the thematic push and pull of their compositions. Luke Hoskin’s insane guitar theatrics5 lend a sense of urgency and immediacy to a song like “Mouthpiece,” where intense single-note runs and grandiose tapping loops bring serious gravitas to an anthem decrying political division. Elsewhere, clipped jazz chords underscore the hopeful wistfulness of “The Orchard.” Hoskin remains a master of layering complex, interlocking guitar melodies and punctuating them with orchestral bursts, and the way every element coalesces around massive, show-stopping peaks—most notably during the climax of progtastic Haken-flecked closer “The Mariner”—never fails to sound both beautifully consonant and utterly jaw-dropping. On the kit, newcomer Nathan Bulla delivers an energetic performance rooted in punk beats, filling his ass off in close step with the strings and giving a classic, driving energy to cuts like the Propaghandi-laced “Fishhook.” All of this sets the stage for Rody Walker’s most confident vocal showing yet. He brings the same endlessly charismatic, sky-scraping voice we love him for, but varies his approach to meet each scintillating line, shifting fluidly between expressive, choked inflections, death growls, and rapid-fire delivery while sounding utterly earnest at every turn.
As its title suggests, Within is an album of personal reflection, with Walker using each song to examine both his own place and Protest the Hero’s place in a world where everything personal, including art and music, feels increasingly threatened by an uncaring, ever-worsening political reality. Walker has always worn his heart on his sleeve as a lyricist, and some listeners may find his directness a little much6, but given the deeply personal nature of this material, I’ll be damned if it isn’t some of the most hopelessly honest and immediately moving music I’ve heard all year. A powerful narrative and thematic current runs through the record as its focus shifts from explicitly political material (“Mouthpiece,” “Fishhook”) to the intersections of artistic legacy, imagined pasts, and nostalgic longing (“Grandfather’s Axe,” “The Orchard”), before arriving at metaphorical loss and the acceptance of one’s place in the world (“Liberty Spike,” “The Mariner”). Several nods to earlier PtH works deepen that reflection, from recurring water imagery recalling Pacific Myth to “The Mariner” directly reprising a melody from Palimpsest’s “The Migrant Mother.” Paired with the supremely effective music, these threads elevate Within into a mature career retrospective: a conscious attempt to confront the band’s legacy, decide what remains meaningful, and make peace with where it now stands.
Within is a very different Protest the Hero record from Palimpsest, but it is no less stunning, musically or thematically. On my first few listens, I wasn’t immediately sold on the more direct subject matter, shorter runtime, or less cinematic approach. With time, however, it has revealed itself as another brilliant jewel in the band’s already gilded crown; the affirmation of and justification of a continued legacy. This is an album that just feels like sheer catharsis. The kind that catches you off guard, works its way into your shower-singing rotation, and somehow leaves you misty-eyed after the twentieth spin.7 Within is a special record, one that repeatedly hammers the “big feels” button while sounding like impossibly earnest tech death for the beardless. Do yourself a favor and hear it.
Rating: 4.5/5.0
#2026 #40 #45 #AtTheDriveIn #CanadianMetal #FaithNoMore #Haken #IndependentRelease #Jul2026 #Metalcore #postPunk #ProgressiveMetal #Propagandhi #ProtestTheHero #Review #Reviews #RiseAgainst #SystemOfADown #Testament #Within -
Protest the Hero – Within Review By Andy-War-HallI spent much of the summer of 2020 languishing in my bedroom. There, I discovered new/new-to-me music at an unprecedented rate. Bat Out of Hell, Mana, Endarkenment, The Pagan Manifesto—escapism or catharsis, I needed it all. But one record stands out to me as the Covid album, and that’s Protest the Hero’s Palimpsest. A buckwild interrogation of the American Dream through historical reinterpretation via orchestral progressive metalcore, it took me away from the present moment while still working out the societal demons and frustrations that surrounded me. It’s dope. 2020 AOTY. Six years later, the Canucks are back, bearing their first independent release Within. With the perennial lineup of singer Rody Walker and guitarists Luke Hoskin and Tim MacMiller, joined by session bassist Cameron McLellan and drummer Nathan Bulla, can Protest the Hero capture the zeitgeist as they did back in those dark times?
Would you believe that Within is another frenetically bombastic opus of proggy, punky goodness? Well, you’d better! Protest the Hero haven’t skipped a beat when it comes to controlled chaos, slathering Within with winding, propulsive vocal runs, drum fills, and guitar tweedily-dweedilies. Echoes of Palimpsest’s symphonic grandeur remain in cuts like “Liberty Spike” and “Mouthpiece,” but Protest the Hero on Within take that grandiosity and hone it into a sharper, punkier blitz on “Fishhook” and “The Orchard,” recalling Rise Against or Propagandhi to me. But Protest the Hero also relishes in unadulterated progressive metal, bouncing around ridiculous rhythms on closer “The Mariner” and asking on “Grandfather’s Axe” what it’d sound like if At the Drive-In and Faith No More jammed over a Testament riff. Interludes “i. above” and “ii. below” offer brief but crucial respite, as Within has a ton to say and licks to play and only thirty-nine minutes to do so. Through Within, Protest the Hero take yet another massive, victorious step in their sonic evolution.
What sticks with me after every listen of Within is how gobsmackingly beautiful it sounds. Protest the Hero have long known how to tie heartstring-tugging melody into their compositions,1 but Within is exceptional even by their own standards. For how hectic the guitar runs on “Grandfather’s Axe” and “The Orchard” are, they still manage to raise goosebumps by their bespoke melodicism. At the core of Protest the Hero’s exquisiteness is Walker’s emotive vocals. Some may find his deliveries too eclectic, injecting enough bizarre inflections and hybrid clean-harsh lines for the average System of a Down song, but there’s no doubting the talent and heartfelt power behind his voice. Like on Palimpsest, Protest the Hero can send a song home in truly hair-raising fashion on Within, like in the fist-pumping conclusion of “Mouthpiece,” the chest-beating lamentations of “The Orchard,”2 or the emotionally-charged apex of “The Mariner.” In these climactic moments, Protest the Hero’s melodic sensibilities shine brightest.
Crucially, Within’s jitteriness and elegance are all in service to its lyrics and themes. Playing off the axiom of “As within, so without,” Protest the Hero explore how one’s outer world shapes one’s inner world. Songs on Within expound on this idea by existing in concert with each other. “Mouthpiece” proudly beats the “No War but Class War” drum while follow-up “Fishhook” details the speaker’s strident relationship with his crotchety old neighbor, complicating that call to unity. “Grandfather’s Axe” and “The Orchard” both deal with nostalgia, with the former seemingly about clinging to the past for personal identity3 while the latter wrestles with communal legacies being erased by capital greed. Finally, the final duo highlights the vitality of community for personal support and meaning; “Liberty Spike” sees what happens when someone is deprived of it, while “The Mariner” shows what happens when it saves someone. Every victory, every tragedy, every aching and bleeding heart Protest the Hero have to offer are in service to these ideas on Within. And man, it works.
I fell in love with Protest the Hero when it seemed society was dying. Within arrives to help remind me that Man’s Better Nature may one day win out. Within may not be as grand or thematically poignant as Palimpsest, but it’s leaner, more personal, and just as brazenly weird and charmingly earnest as Protest the Hero has ever been. Within can make you mad if you let it. It can make you weep internally and, if you’re given to that sort of thing, externally, too. Now go hug your mothers and quit being a dick to your neighbors!
Rating: Great!
DR: 74 | Format Reviewed: 256 kbps MP3
Label: Independent
Websites: protestthehero.ca | facebook.com/protestthehero | protestthehero.bandcamp.com
Releases Worldwide: July 17th, 2026Samguineous Maximus
Even for the largest artists in a particular subgenre, music is always a fight to maintain. Bands aren’t so much static guarantees as they are constant negotiations between careers, families, artistic stagnation, diminishing returns, and ever-present global enshittification. Protest the Hero is a band that understands this better than most, as the Canadian prog-metallers have endured significant stylistic and personnel changes over their 20+ year career. Their evolution has remained compelling, from the Dostoyevsky-inspired brashness of debut Kezia to the nautical expanse of Pacific Myth, but 2020’s Palimpsest represents their ultimate apotheosis. That record found Rody Walker holding a grim mirror to modern America, using vignettes from the nation’s past to illuminate its present calamities, while Luke Hoskin’s compositions finally gave those ideas the space and gravitas they demanded, bolstered by gorgeous orchestration. It felt like the culmination of the band’s musical evolution and remains one of my favorite albums of all time. Six years later, Within arrives with enormous shoes to fill. Despite another apparent personnel shift, it was reportedly composed much like its predecessor. So, how does it measure up—not only to Palimpsest, but to the rest of their formidable discography?
Within doesn’t follow directly in the sonic footsteps of its immediate predecessor; instead, it presents an awe-inspiring amalgamation of the band’s prior efforts, informed by the songwriting lessons showcased on Palimpsest. Protest the Hero still sound unmistakably like themselves, providing that signature blend of sugar-rush, major key energy, maximalist guitar pyrotechnics, and sneering operatic vocals resulting in their trademark punk-driven progressive metalcore. These songs mostly split the difference between the passion-forward, chaotic post-hardcore of Volition and the more considered songwriting acrobatics of Pacific Myth, then drape the whole thing in Palimpsest’s cinematic nuance—albeit with subtler, less telegraphed versions of that record’s customary third-quarter pullbacks. Across six proper tracks and two orchestral interludes, the band pinballs between ADHD-brain guitar catnip, absurdly sticky melodic choruses, and lyrical climaxes that detonate with undeniable pathos. What’s most impressive is how deftly PtH weaves these moments into cohesive compositions. The tracklist contains clear sonic distinctions, from gang-vocal-fueled punk onslaughts (“Grandfather’s Axe”) to wide-open, hook-driven expanses (“The Orchard”), yet each song pivots so naturally between contrasting sections that, even at peak instrumental maximalism, the result feels immediately listenable rather than merely “look-at-me” impressive.
It’s a given that the performances on this thing would be monstrous, but where PtH always excels is using their absurd technicality to augment the thematic push and pull of their compositions. Luke Hoskin’s insane guitar theatrics5 lend a sense of urgency and immediacy to a song like “Mouthpiece,” where intense single-note runs and grandiose tapping loops bring serious gravitas to an anthem decrying political division. Elsewhere, clipped jazz chords underscore the hopeful wistfulness of “The Orchard.” Hoskin remains a master of layering complex, interlocking guitar melodies and punctuating them with orchestral bursts, and the way every element coalesces around massive, show-stopping peaks—most notably during the climax of progtastic Haken-flecked closer “The Mariner”—never fails to sound both beautifully consonant and utterly jaw-dropping. On the kit, newcomer Nathan Bulla delivers an energetic performance rooted in punk beats, filling his ass off in close step with the strings and giving a classic, driving energy to cuts like the Propaghandi-laced “Fishhook.” All of this sets the stage for Rody Walker’s most confident vocal showing yet. He brings the same endlessly charismatic, sky-scraping voice we love him for, but varies his approach to meet each scintillating line, shifting fluidly between expressive, choked inflections, death growls, and rapid-fire delivery while sounding utterly earnest at every turn.
As its title suggests, Within is an album of personal reflection, with Walker using each song to examine both his own place and Protest the Hero’s place in a world where everything personal, including art and music, feels increasingly threatened by an uncaring, ever-worsening political reality. Walker has always worn his heart on his sleeve as a lyricist, and some listeners may find his directness a little much6, but given the deeply personal nature of this material, I’ll be damned if it isn’t some of the most hopelessly honest and immediately moving music I’ve heard all year. A powerful narrative and thematic current runs through the record as its focus shifts from explicitly political material (“Mouthpiece,” “Fishhook”) to the intersections of artistic legacy, imagined pasts, and nostalgic longing (“Grandfather’s Axe,” “The Orchard”), before arriving at metaphorical loss and the acceptance of one’s place in the world (“Liberty Spike,” “The Mariner”). Several nods to earlier PtH works deepen that reflection, from recurring water imagery recalling Pacific Myth to “The Mariner” directly reprising a melody from Palimpsest’s “The Migrant Mother.” Paired with the supremely effective music, these threads elevate Within into a mature career retrospective: a conscious attempt to confront the band’s legacy, decide what remains meaningful, and make peace with where it now stands.
Within is a very different Protest the Hero record from Palimpsest, but it is no less stunning, musically or thematically. On my first few listens, I wasn’t immediately sold on the more direct subject matter, shorter runtime, or less cinematic approach. With time, however, it has revealed itself as another brilliant jewel in the band’s already gilded crown; the affirmation of and justification of a continued legacy. This is an album that just feels like sheer catharsis. The kind that catches you off guard, works its way into your shower-singing rotation, and somehow leaves you misty-eyed after the twentieth spin.7 Within is a special record, one that repeatedly hammers the “big feels” button while sounding like impossibly earnest tech death for the beardless. Do yourself a favor and hear it.
Rating: 4.5/5.0
#2026 #40 #45 #AtTheDriveIn #CanadianMetal #FaithNoMore #Haken #IndependentRelease #Jul2026 #Metalcore #postPunk #ProgressiveMetal #Propagandhi #ProtestTheHero #Review #Reviews #RiseAgainst #SystemOfADown #Testament #Within -
Protest the Hero – Within Review By Andy-War-HallI spent much of the summer of 2020 languishing in my bedroom. There, I discovered new/new-to-me music at an unprecedented rate. Bat Out of Hell, Mana, Endarkenment, The Pagan Manifesto—escapism or catharsis, I needed it all. But one record stands out to me as the Covid album, and that’s Protest the Hero’s Palimpsest. A buckwild interrogation of the American Dream through historical reinterpretation via orchestral progressive metalcore, it took me away from the present moment while still working out the societal demons and frustrations that surrounded me. It’s dope. 2020 AOTY. Six years later, the Canucks are back, bearing their first independent release Within. With the perennial lineup of singer Rody Walker and guitarists Luke Hoskin and Tim MacMiller, joined by session bassist Cameron McLellan and drummer Nathan Bulla, can Protest the Hero capture the zeitgeist as they did back in those dark times?
Would you believe that Within is another frenetically bombastic opus of proggy, punky goodness? Well, you’d better! Protest the Hero haven’t skipped a beat when it comes to controlled chaos, slathering Within with winding, propulsive vocal runs, drum fills, and guitar tweedily-dweedilies. Echoes of Palimpsest’s symphonic grandeur remain in cuts like “Liberty Spike” and “Mouthpiece,” but Protest the Hero on Within take that grandiosity and hone it into a sharper, punkier blitz on “Fishhook” and “The Orchard,” recalling Rise Against or Propagandhi to me. But Protest the Hero also relishes in unadulterated progressive metal, bouncing around ridiculous rhythms on closer “The Mariner” and asking on “Grandfather’s Axe” what it’d sound like if At the Drive-In and Faith No More jammed over a Testament riff. Interludes “i. above” and “ii. below” offer brief but crucial respite, as Within has a ton to say and licks to play and only thirty-nine minutes to do so. Through Within, Protest the Hero take yet another massive, victorious step in their sonic evolution.
What sticks with me after every listen of Within is how gobsmackingly beautiful it sounds. Protest the Hero have long known how to tie heartstring-tugging melody into their compositions,1 but Within is exceptional even by their own standards. For how hectic the guitar runs on “Grandfather’s Axe” and “The Orchard” are, they still manage to raise goosebumps by their bespoke melodicism. At the core of Protest the Hero’s exquisiteness is Walker’s emotive vocals. Some may find his deliveries too eclectic, injecting enough bizarre inflections and hybrid clean-harsh lines for the average System of a Down song, but there’s no doubting the talent and heartfelt power behind his voice. Like on Palimpsest, Protest the Hero can send a song home in truly hair-raising fashion on Within, like in the fist-pumping conclusion of “Mouthpiece,” the chest-beating lamentations of “The Orchard,”2 or the emotionally-charged apex of “The Mariner.” In these climactic moments, Protest the Hero’s melodic sensibilities shine brightest.
Crucially, Within’s jitteriness and elegance are all in service to its lyrics and themes. Playing off the axiom of “As within, so without,” Protest the Hero explore how one’s outer world shapes one’s inner world. Songs on Within expound on this idea by existing in concert with each other. “Mouthpiece” proudly beats the “No War but Class War” drum while follow-up “Fishhook” details the speaker’s strident relationship with his crotchety old neighbor, complicating that call to unity. “Grandfather’s Axe” and “The Orchard” both deal with nostalgia, with the former seemingly about clinging to the past for personal identity3 while the latter wrestles with communal legacies being erased by capital greed. Finally, the final duo highlights the vitality of community for personal support and meaning; “Liberty Spike” sees what happens when someone is deprived of it, while “The Mariner” shows what happens when it saves someone. Every victory, every tragedy, every aching and bleeding heart Protest the Hero have to offer are in service to these ideas on Within. And man, it works.
I fell in love with Protest the Hero when it seemed society was dying. Within arrives to help remind me that Man’s Better Nature may one day win out. Within may not be as grand or thematically poignant as Palimpsest, but it’s leaner, more personal, and just as brazenly weird and charmingly earnest as Protest the Hero has ever been. Within can make you mad if you let it. It can make you weep internally and, if you’re given to that sort of thing, externally, too. Now go hug your mothers and quit being a dick to your neighbors!
Rating: Great!
DR: 74 | Format Reviewed: 256 kbps MP3
Label: Independent
Websites: protestthehero.ca | facebook.com/protestthehero | protestthehero.bandcamp.com
Releases Worldwide: July 17th, 2026Samguineous Maximus
Even for the largest artists in a particular subgenre, music is always a fight to maintain. Bands aren’t so much static guarantees as they are constant negotiations between careers, families, artistic stagnation, diminishing returns, and ever-present global enshittification. Protest the Hero is a band that understands this better than most, as the Canadian prog-metallers have endured significant stylistic and personnel changes over their 20+ year career. Their evolution has remained compelling, from the Dostoyevsky-inspired brashness of debut Kezia to the nautical expanse of Pacific Myth, but 2020’s Palimpsest represents their ultimate apotheosis. That record found Rody Walker holding a grim mirror to modern America, using vignettes from the nation’s past to illuminate its present calamities, while Luke Hoskin’s compositions finally gave those ideas the space and gravitas they demanded, bolstered by gorgeous orchestration. It felt like the culmination of the band’s musical evolution and remains one of my favorite albums of all time. Six years later, Within arrives with enormous shoes to fill. Despite another apparent personnel shift, it was reportedly composed much like its predecessor. So, how does it measure up—not only to Palimpsest, but to the rest of their formidable discography?
Within doesn’t follow directly in the sonic footsteps of its immediate predecessor; instead, it presents an awe-inspiring amalgamation of the band’s prior efforts, informed by the songwriting lessons showcased on Palimpsest. Protest the Hero still sound unmistakably like themselves, providing that signature blend of sugar-rush, major key energy, maximalist guitar pyrotechnics, and sneering operatic vocals resulting in their trademark punk-driven progressive metalcore. These songs mostly split the difference between the passion-forward, chaotic post-hardcore of Volition and the more considered songwriting acrobatics of Pacific Myth, then drape the whole thing in Palimpsest’s cinematic nuance—albeit with subtler, less telegraphed versions of that record’s customary third-quarter pullbacks. Across six proper tracks and two orchestral interludes, the band pinballs between ADHD-brain guitar catnip, absurdly sticky melodic choruses, and lyrical climaxes that detonate with undeniable pathos. What’s most impressive is how deftly PtH weaves these moments into cohesive compositions. The tracklist contains clear sonic distinctions, from gang-vocal-fueled punk onslaughts (“Grandfather’s Axe”) to wide-open, hook-driven expanses (“The Orchard”), yet each song pivots so naturally between contrasting sections that, even at peak instrumental maximalism, the result feels immediately listenable rather than merely “look-at-me” impressive.
It’s a given that the performances on this thing would be monstrous, but where PtH always excels is using their absurd technicality to augment the thematic push and pull of their compositions. Luke Hoskin’s insane guitar theatrics5 lend a sense of urgency and immediacy to a song like “Mouthpiece,” where intense single-note runs and grandiose tapping loops bring serious gravitas to an anthem decrying political division. Elsewhere, clipped jazz chords underscore the hopeful wistfulness of “The Orchard.” Hoskin remains a master of layering complex, interlocking guitar melodies and punctuating them with orchestral bursts, and the way every element coalesces around massive, show-stopping peaks—most notably during the climax of progtastic Haken-flecked closer “The Mariner”—never fails to sound both beautifully consonant and utterly jaw-dropping. On the kit, newcomer Nathan Bulla delivers an energetic performance rooted in punk beats, filling his ass off in close step with the strings and giving a classic, driving energy to cuts like the Propaghandi-laced “Fishhook.” All of this sets the stage for Rody Walker’s most confident vocal showing yet. He brings the same endlessly charismatic, sky-scraping voice we love him for, but varies his approach to meet each scintillating line, shifting fluidly between expressive, choked inflections, death growls, and rapid-fire delivery while sounding utterly earnest at every turn.
As its title suggests, Within is an album of personal reflection, with Walker using each song to examine both his own place and Protest the Hero’s place in a world where everything personal, including art and music, feels increasingly threatened by an uncaring, ever-worsening political reality. Walker has always worn his heart on his sleeve as a lyricist, and some listeners may find his directness a little much6, but given the deeply personal nature of this material, I’ll be damned if it isn’t some of the most hopelessly honest and immediately moving music I’ve heard all year. A powerful narrative and thematic current runs through the record as its focus shifts from explicitly political material (“Mouthpiece,” “Fishhook”) to the intersections of artistic legacy, imagined pasts, and nostalgic longing (“Grandfather’s Axe,” “The Orchard”), before arriving at metaphorical loss and the acceptance of one’s place in the world (“Liberty Spike,” “The Mariner”). Several nods to earlier PtH works deepen that reflection, from recurring water imagery recalling Pacific Myth to “The Mariner” directly reprising a melody from Palimpsest’s “The Migrant Mother.” Paired with the supremely effective music, these threads elevate Within into a mature career retrospective: a conscious attempt to confront the band’s legacy, decide what remains meaningful, and make peace with where it now stands.
Within is a very different Protest the Hero record from Palimpsest, but it is no less stunning, musically or thematically. On my first few listens, I wasn’t immediately sold on the more direct subject matter, shorter runtime, or less cinematic approach. With time, however, it has revealed itself as another brilliant jewel in the band’s already gilded crown; the affirmation of and justification of a continued legacy. This is an album that just feels like sheer catharsis. The kind that catches you off guard, works its way into your shower-singing rotation, and somehow leaves you misty-eyed after the twentieth spin.7 Within is a special record, one that repeatedly hammers the “big feels” button while sounding like impossibly earnest tech death for the beardless. Do yourself a favor and hear it.
Rating: 4.5/5.0
#2026 #40 #45 #AtTheDriveIn #CanadianMetal #FaithNoMore #Haken #IndependentRelease #Jul2026 #Metalcore #postPunk #ProgressiveMetal #Propagandhi #ProtestTheHero #Review #Reviews #RiseAgainst #SystemOfADown #Testament #Within -
Protest the Hero – Within Review By Andy-War-HallI spent much of the summer of 2020 languishing in my bedroom. There, I discovered new/new-to-me music at an unprecedented rate. Bat Out of Hell, Mana, Endarkenment, The Pagan Manifesto—escapism or catharsis, I needed it all. But one record stands out to me as the Covid album, and that’s Protest the Hero’s Palimpsest. A buckwild interrogation of the American Dream through historical reinterpretation via orchestral progressive metalcore, it took me away from the present moment while still working out the societal demons and frustrations that surrounded me. It’s dope. 2020 AOTY. Six years later, the Canucks are back, bearing their first independent release Within. With the perennial lineup of singer Rody Walker and guitarists Luke Hoskin and Tim MacMiller, joined by session bassist Cameron McLellan and drummer Nathan Bulla, can Protest the Hero capture the zeitgeist as they did back in those dark times?
Would you believe that Within is another frenetically bombastic opus of proggy, punky goodness? Well, you’d better! Protest the Hero haven’t skipped a beat when it comes to controlled chaos, slathering Within with winding, propulsive vocal runs, drum fills, and guitar tweedily-dweedilies. Echoes of Palimpsest’s symphonic grandeur remain in cuts like “Liberty Spike” and “Mouthpiece,” but Protest the Hero on Within take that grandiosity and hone it into a sharper, punkier blitz on “Fishhook” and “The Orchard,” recalling Rise Against or Propagandhi to me. But Protest the Hero also relishes in unadulterated progressive metal, bouncing around ridiculous rhythms on closer “The Mariner” and asking on “Grandfather’s Axe” what it’d sound like if At the Drive-In and Faith No More jammed over a Testament riff. Interludes “i. above” and “ii. below” offer brief but crucial respite, as Within has a ton to say and licks to play and only thirty-nine minutes to do so. Through Within, Protest the Hero take yet another massive, victorious step in their sonic evolution.
What sticks with me after every listen of Within is how gobsmackingly beautiful it sounds. Protest the Hero have long known how to tie heartstring-tugging melody into their compositions,1 but Within is exceptional even by their own standards. For how hectic the guitar runs on “Grandfather’s Axe” and “The Orchard” are, they still manage to raise goosebumps by their bespoke melodicism. At the core of Protest the Hero’s exquisiteness is Walker’s emotive vocals. Some may find his deliveries too eclectic, injecting enough bizarre inflections and hybrid clean-harsh lines for the average System of a Down song, but there’s no doubting the talent and heartfelt power behind his voice. Like on Palimpsest, Protest the Hero can send a song home in truly hair-raising fashion on Within, like in the fist-pumping conclusion of “Mouthpiece,” the chest-beating lamentations of “The Orchard,”2 or the emotionally-charged apex of “The Mariner.” In these climactic moments, Protest the Hero’s melodic sensibilities shine brightest.
Crucially, Within’s jitteriness and elegance are all in service to its lyrics and themes. Playing off the axiom of “As within, so without,” Protest the Hero explore how one’s outer world shapes one’s inner world. Songs on Within expound on this idea by existing in concert with each other. “Mouthpiece” proudly beats the “No War but Class War” drum while follow-up “Fishhook” details the speaker’s strident relationship with his crotchety old neighbor, complicating that call to unity. “Grandfather’s Axe” and “The Orchard” both deal with nostalgia, with the former seemingly about clinging to the past for personal identity3 while the latter wrestles with communal legacies being erased by capital greed. Finally, the final duo highlights the vitality of community for personal support and meaning; “Liberty Spike” sees what happens when someone is deprived of it, while “The Mariner” shows what happens when it saves someone. Every victory, every tragedy, every aching and bleeding heart Protest the Hero have to offer are in service to these ideas on Within. And man, it works.
I fell in love with Protest the Hero when it seemed society was dying. Within arrives to help remind me that Man’s Better Nature may one day win out. Within may not be as grand or thematically poignant as Palimpsest, but it’s leaner, more personal, and just as brazenly weird and charmingly earnest as Protest the Hero has ever been. Within can make you mad if you let it. It can make you weep internally and, if you’re given to that sort of thing, externally, too. Now go hug your mothers and quit being a dick to your neighbors!
Rating: Great!
DR: 74 | Format Reviewed: 256 kbps MP3
Label: Independent
Websites: protestthehero.ca | facebook.com/protestthehero | protestthehero.bandcamp.com
Releases Worldwide: July 17th, 2026Samguineous Maximus
Even for the largest artists in a particular subgenre, music is always a fight to maintain. Bands aren’t so much static guarantees as they are constant negotiations between careers, families, artistic stagnation, diminishing returns, and ever-present global enshittification. Protest the Hero is a band that understands this better than most, as the Canadian prog-metallers have endured significant stylistic and personnel changes over their 20+ year career. Their evolution has remained compelling, from the Dostoyevsky-inspired brashness of debut Kezia to the nautical expanse of Pacific Myth, but 2020’s Palimpsest represents their ultimate apotheosis. That record found Rody Walker holding a grim mirror to modern America, using vignettes from the nation’s past to illuminate its present calamities, while Luke Hoskin’s compositions finally gave those ideas the space and gravitas they demanded, bolstered by gorgeous orchestration. It felt like the culmination of the band’s musical evolution and remains one of my favorite albums of all time. Six years later, Within arrives with enormous shoes to fill. Despite another apparent personnel shift, it was reportedly composed much like its predecessor. So, how does it measure up—not only to Palimpsest, but to the rest of their formidable discography?
Within doesn’t follow directly in the sonic footsteps of its immediate predecessor; instead, it presents an awe-inspiring amalgamation of the band’s prior efforts, informed by the songwriting lessons showcased on Palimpsest. Protest the Hero still sound unmistakably like themselves, providing that signature blend of sugar-rush, major key energy, maximalist guitar pyrotechnics, and sneering operatic vocals resulting in their trademark punk-driven progressive metalcore. These songs mostly split the difference between the passion-forward, chaotic post-hardcore of Volition and the more considered songwriting acrobatics of Pacific Myth, then drape the whole thing in Palimpsest’s cinematic nuance—albeit with subtler, less telegraphed versions of that record’s customary third-quarter pullbacks. Across six proper tracks and two orchestral interludes, the band pinballs between ADHD-brain guitar catnip, absurdly sticky melodic choruses, and lyrical climaxes that detonate with undeniable pathos. What’s most impressive is how deftly PtH weaves these moments into cohesive compositions. The tracklist contains clear sonic distinctions, from gang-vocal-fueled punk onslaughts (“Grandfather’s Axe”) to wide-open, hook-driven expanses (“The Orchard”), yet each song pivots so naturally between contrasting sections that, even at peak instrumental maximalism, the result feels immediately listenable rather than merely “look-at-me” impressive.
It’s a given that the performances on this thing would be monstrous, but where PtH always excels is using their absurd technicality to augment the thematic push and pull of their compositions. Luke Hoskin’s insane guitar theatrics5 lend a sense of urgency and immediacy to a song like “Mouthpiece,” where intense single-note runs and grandiose tapping loops bring serious gravitas to an anthem decrying political division. Elsewhere, clipped jazz chords underscore the hopeful wistfulness of “The Orchard.” Hoskin remains a master of layering complex, interlocking guitar melodies and punctuating them with orchestral bursts, and the way every element coalesces around massive, show-stopping peaks—most notably during the climax of progtastic Haken-flecked closer “The Mariner”—never fails to sound both beautifully consonant and utterly jaw-dropping. On the kit, newcomer Nathan Bulla delivers an energetic performance rooted in punk beats, filling his ass off in close step with the strings and giving a classic, driving energy to cuts like the Propaghandi-laced “Fishhook.” All of this sets the stage for Rody Walker’s most confident vocal showing yet. He brings the same endlessly charismatic, sky-scraping voice we love him for, but varies his approach to meet each scintillating line, shifting fluidly between expressive, choked inflections, death growls, and rapid-fire delivery while sounding utterly earnest at every turn.
As its title suggests, Within is an album of personal reflection, with Walker using each song to examine both his own place and Protest the Hero’s place in a world where everything personal, including art and music, feels increasingly threatened by an uncaring, ever-worsening political reality. Walker has always worn his heart on his sleeve as a lyricist, and some listeners may find his directness a little much6, but given the deeply personal nature of this material, I’ll be damned if it isn’t some of the most hopelessly honest and immediately moving music I’ve heard all year. A powerful narrative and thematic current runs through the record as its focus shifts from explicitly political material (“Mouthpiece,” “Fishhook”) to the intersections of artistic legacy, imagined pasts, and nostalgic longing (“Grandfather’s Axe,” “The Orchard”), before arriving at metaphorical loss and the acceptance of one’s place in the world (“Liberty Spike,” “The Mariner”). Several nods to earlier PtH works deepen that reflection, from recurring water imagery recalling Pacific Myth to “The Mariner” directly reprising a melody from Palimpsest’s “The Migrant Mother.” Paired with the supremely effective music, these threads elevate Within into a mature career retrospective: a conscious attempt to confront the band’s legacy, decide what remains meaningful, and make peace with where it now stands.
Within is a very different Protest the Hero record from Palimpsest, but it is no less stunning, musically or thematically. On my first few listens, I wasn’t immediately sold on the more direct subject matter, shorter runtime, or less cinematic approach. With time, however, it has revealed itself as another brilliant jewel in the band’s already gilded crown; the affirmation of and justification of a continued legacy. This is an album that just feels like sheer catharsis. The kind that catches you off guard, works its way into your shower-singing rotation, and somehow leaves you misty-eyed after the twentieth spin.7 Within is a special record, one that repeatedly hammers the “big feels” button while sounding like impossibly earnest tech death for the beardless. Do yourself a favor and hear it.
Rating: 4.5/5.0
#2026 #40 #45 #AtTheDriveIn #CanadianMetal #FaithNoMore #Haken #IndependentRelease #Jul2026 #Metalcore #postPunk #ProgressiveMetal #Propagandhi #ProtestTheHero #Review #Reviews #RiseAgainst #SystemOfADown #Testament #Within -
Rock in Rio 2026 celebra o Dia Mundial do Rock com dois dias dedicados ao gênero
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📻 Vortex Indie 🎸 (Indie pop, indie rock, classic rock)
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Vainstream Rockfest 2026 🎶
📅 26.–27.06.2026
📍 Münster, Germany
🎸 Metal / Rock / Punk · from €165.00🔊 Black Veil Brides, Hollywood Undead, Grandson, TX2 & many more
🎧 Full playlist + 🎟 tickets: https://festivalplaylist.com#VainstreamRockfest2026 #Mnster #Germany #Metal #Rock #Punk #BlackVeilBrides #HollywoodUndead #Grandson #TX2 #RiseAgainst #SetItOff #Vainstream2026 #festival2026 #festival #livemusic #lineup #musicfestival
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Es gibt Musik die ist aus der Zeit gefallen. An die magst du dich heute nicht mehr erinnern, gar hören.
Und dann gibts #RiseAgainst
Du wünscht dir, dass deren Songs aus der Zeit gefallen sind und du sie nicht mehr hören brauchst. Leider sind aber ausnahmslos alle Songs aktueller denn je. -
Es gibt Musik die ist aus der Zeit gefallen. An die magst du dich heute nicht mehr erinnern, gar hören.
Und dann gibts #RiseAgainst
Du wünscht dir, dass deren Songs aus der Zeit gefallen sind und du sie nicht mehr hören brauchst. Leider sind aber ausnahmslos alle Songs aktueller denn je. -
Es gibt Musik die ist aus der Zeit gefallen. An die magst du dich heute nicht mehr erinnern, gar hören.
Und dann gibts #RiseAgainst
Du wünscht dir, dass deren Songs aus der Zeit gefallen sind und du sie nicht mehr hören brauchst. Leider sind aber ausnahmslos alle Songs aktueller denn je. -
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Riot Fest has revealed its full 2026 lineup.
Tool, Rise Against, Pierce The Veil, GWAR, and many more are set to take over Chicago's Douglass Park this September.
Details: https://metalinsider.net/festivals/riot-fest-2026-lineup-announced-with-tool-rise-against-and-gwar
#RiotFest #RiotFest2026 #Tool #RiseAgainst #PierceTheVeil #GWAR #FestivalNews
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Riot Fest has revealed its full 2026 lineup.
Tool, Rise Against, Pierce The Veil, GWAR, and many more are set to take over Chicago's Douglass Park this September.
Details: https://metalinsider.net/festivals/riot-fest-2026-lineup-announced-with-tool-rise-against-and-gwar
#RiotFest #RiotFest2026 #Tool #RiseAgainst #PierceTheVeil #GWAR #FestivalNews
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https://www.europesays.com/uk/961601/ Arroganz – Death Doom Punks Review #2026 #35 #Arroganz #BadReligion #BlackFlag #CasketsOpen #Death #DeathDoomPunks #DeathMetal #Descendants #Discharge #DoomMetal #Entertainment #GermanMetal #GreenDay #Immolation #May26 #music #Pantera #Punk #Review #Reviews #RiseAgainst #SocialDistortion #TestimonyRecords #UK #UnitedKingdom
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Arroganz – Death Doom Punks Review By Andy-War-Hall
Once, punk ruled my heart as jealously as metal. I loved the heart-in-hand abandon and DIY ethos of acts like Rise Against, Social Distortion, Bad Religion, and Descendants,1 and though I still do metal nonetheless won out as my root genre. But punk and metal have always overlapped, and when the two offshoots of rock tango together, great things can happen.2 German death metallers Arroganz have been carrying out this uneasy marriage since 2008, dropping six testaments of metallic brutality and punkish rebellion over the years. Longtime bassist/vocalist -K- and drummer -T- are joined by the newcomer guitarist -B- for lucky number seven, Death Doom Punks, a declaration of purpose if there’s ever been one. I love the attitude, but an album can’t live by ‘tude alone. Will Arroganz’s infusion of punkish qualities into the death metal elevate Death Doom Punks, or will it merely spell death/doom for these punks?
Other bands have put death riffs over d-beats before, but Arroganz channel early Immolation/Death through Black Flag/Discharge-like hardcore grime in a way that feels particularly vital on Death Doom Punks. Whether through blistering speeds like on “Pain Forged Armor” or diabolical groove on “Anti-Ideology,” Arroganz’s knack for aggressive and catchy riffcraft keeps a near-constant stankface plastered over my skull. Classic death metal walking riffs meet soaring doom bass leads on “Die for Nothing,” while “Death Doom Punks” marries hardcore and doom into a gloomy, potent combo that reminded me that Caskets Open exists. Songs on Death Doom Punks are brief and intentionally simple, but hear the spider-y basslines on “Earth’s Final Dose,” the gigantic belting and bass-work over “Under Scarred Skin,” or the gnarly death march of “Spirit Arsonist” and know that Arroganz supercharged everything they wrote with everything they had. Simply, Death Doom Punks is what it says it is, and it’s awesome.
That Death Doom Punks is Arroganz’s seventh album is no surprise, as their chemistry and chops are something else. Rhythmically, Arroganz seamlessly slide into a snarling breakdown one moment on “Arsenic Breath” and throw down thrash stampedes the next on “Incubus’ Veins.” -K- is a beast of a bassist and vocalist, littering Death Doom Punks with nimble and concussive bass riffs and punk-influenced leads while bellowing throaty, acerbic condemnations of society. -B- fits Arroganz like a fingerless glove, clobbering Death Doom Punks with crushing grooves on the title track,3 gnarled and disjointed leads on “Pain Forged Armor,” and entwining leads with -K-‘s bass licks on “Arsenic Breath.” Arroganz play well together, and Death Doom Punk’s organic production and surprisingly dynamic mix make it apparent. The snare pop right, the bass warbles and clicks right, the guitar is crunchy and deep and everything sits just right in the mix. Arroganz may be no-good punks, but Death Doom Punks is clearly the product of adamant professionals and experts of their craft.
Arroganz’s most critical success is in knowing when to switch something up. Again, Death Doom Punks’ songs are on the simple side, but Arroganz shuffle through riffs, refrains, and bridges often enough to spare the listener from boredom while affording ideas enough time to settle to save themselves from riff salad. Frequent tempo shifts electrify Death Doom Punks further, spinning “Spirit Arsonist”‘s plodding bass riff into a total death metal meltdown and opening “Die for Nothing”‘s relentless show of force in the bridge for a righteous display of bass-forward doom. Conversely, the relatively static one-two combo of “Incubus’ Veins” and “Earths Final Dose” mark Death Doom Punk’s low point. Though -K-‘s screams sound more cutting than usual on “Incubus’ Veins” and “Earths Final Dose” features some slick fills from -T-, they don’t offer as much diversity as the other tracks and feel a bit one-track as a result. But that stretch is an exception to the rule of Death Doom Punks, which is largely a wild ride front-to-back.
Death Doom Punks sees ass, and it kicks it, no questions asked. I had never heard a lick of Arroganz before diving into Death Doom Punks—the title just sounded funny to me—but they’ve quickly made a fan of me over the weeks. The riffs are relentless. The hooks are huge. Did I mention the bass lines rock? Arroganz are simply a potent entity who know who they are and what they do well, and it comes through on Death Doom Punks. You should know it, too.
Rating: Very Good
#2026 #35 #Arroganz #BadReligion #BlackFlag #CasketsOpen #Death #DeathDoomPunks #DeathMetal #Descendants #Discharge #DoomMetal #GermanMetal #GreenDay #Immolation #May26 #Pantera #Punk #Review #Reviews #RiseAgainst #SocialDistortion #TestimonyRecords
DR: 7 | Format Reviewed: 320 kbps MP3
Label: Testimony Records
Websites: arroganz.bandcamp.com | facebook.com/arroganzgermany | www.arroganz.info
Releases Worldwide: May 15th, 2026 -
Arroganz – Death Doom Punks Review By Andy-War-Hall
Once, punk ruled my heart as jealously as metal. I loved the heart-in-hand abandon and DIY ethos of acts like Rise Against, Social Distortion, Bad Religion, and Descendants,1 and though I still do metal nonetheless won out as my root genre. But punk and metal have always overlapped, and when the two offshoots of rock tango together, great things can happen.2 German death metallers Arroganz have been carrying out this uneasy marriage since 2008, dropping six testaments of metallic brutality and punkish rebellion over the years. Longtime bassist/vocalist -K- and drummer -T- are joined by the newcomer guitarist -B- for lucky number seven, Death Doom Punks, a declaration of purpose if there’s ever been one. I love the attitude, but an album can’t live by ‘tude alone. Will Arroganz’s infusion of punkish qualities into the death metal elevate Death Doom Punks, or will it merely spell death/doom for these punks?
Other bands have put death riffs over d-beats before, but Arroganz channel early Immolation/Death through Black Flag/Discharge-like hardcore grime in a way that feels particularly vital on Death Doom Punks. Whether through blistering speeds like on “Pain Forged Armor” or diabolical groove on “Anti-Ideology,” Arroganz’s knack for aggressive and catchy riffcraft keeps a near-constant stankface plastered over my skull. Classic death metal walking riffs meet soaring doom bass leads on “Die for Nothing,” while “Death Doom Punks” marries hardcore and doom into a gloomy, potent combo that reminded me that Caskets Open exists. Songs on Death Doom Punks are brief and intentionally simple, but hear the spider-y basslines on “Earth’s Final Dose,” the gigantic belting and bass-work over “Under Scarred Skin,” or the gnarly death march of “Spirit Arsonist” and know that Arroganz supercharged everything they wrote with everything they had. Simply, Death Doom Punks is what it says it is, and it’s awesome.
That Death Doom Punks is Arroganz’s seventh album is no surprise, as their chemistry and chops are something else. Rhythmically, Arroganz seamlessly slide into a snarling breakdown one moment on “Arsenic Breath” and throw down thrash stampedes the next on “Incubus’ Veins.” -K- is a beast of a bassist and vocalist, littering Death Doom Punks with nimble and concussive bass riffs and punk-influenced leads while bellowing throaty, acerbic condemnations of society. -B- fits Arroganz like a fingerless glove, clobbering Death Doom Punks with crushing grooves on the title track,3 gnarled and disjointed leads on “Pain Forged Armor,” and entwining leads with -K-‘s bass licks on “Arsenic Breath.” Arroganz play well together, and Death Doom Punk’s organic production and surprisingly dynamic mix make it apparent. The snare pop right, the bass warbles and clicks right, the guitar is crunchy and deep and everything sits just right in the mix. Arroganz may be no-good punks, but Death Doom Punks is clearly the product of adamant professionals and experts of their craft.
Arroganz’s most critical success is in knowing when to switch something up. Again, Death Doom Punks’ songs are on the simple side, but Arroganz shuffle through riffs, refrains, and bridges often enough to spare the listener from boredom while affording ideas enough time to settle to save themselves from riff salad. Frequent tempo shifts electrify Death Doom Punks further, spinning “Spirit Arsonist”‘s plodding bass riff into a total death metal meltdown and opening “Die for Nothing”‘s relentless show of force in the bridge for a righteous display of bass-forward doom. Conversely, the relatively static one-two combo of “Incubus’ Veins” and “Earths Final Dose” mark Death Doom Punk’s low point. Though -K-‘s screams sound more cutting than usual on “Incubus’ Veins” and “Earths Final Dose” features some slick fills from -T-, they don’t offer as much diversity as the other tracks and feel a bit one-track as a result. But that stretch is an exception to the rule of Death Doom Punks, which is largely a wild ride front-to-back.
Death Doom Punks sees ass, and it kicks it, no questions asked. I had never heard a lick of Arroganz before diving into Death Doom Punks—the title just sounded funny to me—but they’ve quickly made a fan of me over the weeks. The riffs are relentless. The hooks are huge. Did I mention the bass lines rock? Arroganz are simply a potent entity who know who they are and what they do well, and it comes through on Death Doom Punks. You should know it, too.
Rating: Very Good
#2026 #35 #Arroganz #BadReligion #BlackFlag #CasketsOpen #Death #DeathDoomPunks #DeathMetal #Descendants #Discharge #DoomMetal #GermanMetal #GreenDay #Immolation #May26 #Pantera #Punk #Review #Reviews #RiseAgainst #SocialDistortion #TestimonyRecords
DR: 7 | Format Reviewed: 320 kbps MP3
Label: Testimony Records
Websites: arroganz.bandcamp.com | facebook.com/arroganzgermany | www.arroganz.info
Releases Worldwide: May 15th, 2026 -
Arroganz – Death Doom Punks Review By Andy-War-Hall
Once, punk ruled my heart as jealously as metal. I loved the heart-in-hand abandon and DIY ethos of acts like Rise Against, Social Distortion, Bad Religion, and Descendants,1 and though I still do metal nonetheless won out as my root genre. But punk and metal have always overlapped, and when the two offshoots of rock tango together, great things can happen.2 German death metallers Arroganz have been carrying out this uneasy marriage since 2008, dropping six testaments of metallic brutality and punkish rebellion over the years. Longtime bassist/vocalist -K- and drummer -T- are joined by the newcomer guitarist -B- for lucky number seven, Death Doom Punks, a declaration of purpose if there’s ever been one. I love the attitude, but an album can’t live by ‘tude alone. Will Arroganz’s infusion of punkish qualities into the death metal elevate Death Doom Punks, or will it merely spell death/doom for these punks?
Other bands have put death riffs over d-beats before, but Arroganz channel early Immolation/Death through Black Flag/Discharge-like hardcore grime in a way that feels particularly vital on Death Doom Punks. Whether through blistering speeds like on “Pain Forged Armor” or diabolical groove on “Anti-Ideology,” Arroganz’s knack for aggressive and catchy riffcraft keeps a near-constant stankface plastered over my skull. Classic death metal walking riffs meet soaring doom bass leads on “Die for Nothing,” while “Death Doom Punks” marries hardcore and doom into a gloomy, potent combo that reminded me that Caskets Open exists. Songs on Death Doom Punks are brief and intentionally simple, but hear the spider-y basslines on “Earth’s Final Dose,” the gigantic belting and bass-work over “Under Scarred Skin,” or the gnarly death march of “Spirit Arsonist” and know that Arroganz supercharged everything they wrote with everything they had. Simply, Death Doom Punks is what it says it is, and it’s awesome.
That Death Doom Punks is Arroganz’s seventh album is no surprise, as their chemistry and chops are something else. Rhythmically, Arroganz seamlessly slide into a snarling breakdown one moment on “Arsenic Breath” and throw down thrash stampedes the next on “Incubus’ Veins.” -K- is a beast of a bassist and vocalist, littering Death Doom Punks with nimble and concussive bass riffs and punk-influenced leads while bellowing throaty, acerbic condemnations of society. -B- fits Arroganz like a fingerless glove, clobbering Death Doom Punks with crushing grooves on the title track,3 gnarled and disjointed leads on “Pain Forged Armor,” and entwining leads with -K-‘s bass licks on “Arsenic Breath.” Arroganz play well together, and Death Doom Punk’s organic production and surprisingly dynamic mix make it apparent. The snare pop right, the bass warbles and clicks right, the guitar is crunchy and deep and everything sits just right in the mix. Arroganz may be no-good punks, but Death Doom Punks is clearly the product of adamant professionals and experts of their craft.
Arroganz’s most critical success is in knowing when to switch something up. Again, Death Doom Punks’ songs are on the simple side, but Arroganz shuffle through riffs, refrains, and bridges often enough to spare the listener from boredom while affording ideas enough time to settle to save themselves from riff salad. Frequent tempo shifts electrify Death Doom Punks further, spinning “Spirit Arsonist”‘s plodding bass riff into a total death metal meltdown and opening “Die for Nothing”‘s relentless show of force in the bridge for a righteous display of bass-forward doom. Conversely, the relatively static one-two combo of “Incubus’ Veins” and “Earths Final Dose” mark Death Doom Punk’s low point. Though -K-‘s screams sound more cutting than usual on “Incubus’ Veins” and “Earths Final Dose” features some slick fills from -T-, they don’t offer as much diversity as the other tracks and feel a bit one-track as a result. But that stretch is an exception to the rule of Death Doom Punks, which is largely a wild ride front-to-back.
Death Doom Punks sees ass, and it kicks it, no questions asked. I had never heard a lick of Arroganz before diving into Death Doom Punks—the title just sounded funny to me—but they’ve quickly made a fan of me over the weeks. The riffs are relentless. The hooks are huge. Did I mention the bass lines rock? Arroganz are simply a potent entity who know who they are and what they do well, and it comes through on Death Doom Punks. You should know it, too.
Rating: Very Good
#2026 #35 #Arroganz #BadReligion #BlackFlag #CasketsOpen #Death #DeathDoomPunks #DeathMetal #Descendants #Discharge #DoomMetal #GermanMetal #GreenDay #Immolation #May26 #Pantera #Punk #Review #Reviews #RiseAgainst #SocialDistortion #TestimonyRecords
DR: 7 | Format Reviewed: 320 kbps MP3
Label: Testimony Records
Websites: arroganz.bandcamp.com | facebook.com/arroganzgermany | www.arroganz.info
Releases Worldwide: May 15th, 2026
