We review the third album from the hard rock powerhouse that is The Pretty Reckless.
"[Frank Iero] transcends his insecurities to spawn twelve songs more akin to weapons..."
There is beauty, even in the height of chaos. Every Time I Die are that chaos.
Suck it, Avengers.
"This is a record that you can place on the same shelf as Australian indie-rock bands such as Motor Ace, Kisschasy or Something For Kate."
“It is instantly recognisable, upon listening to Bad Vibrations, that there has been a clear directive shift in effect this time around.”
It’s not every day that one of Melbourne’s premier metalcore bands makes the dark pop album of 2016.
Where its predecessor revelled in bright, clear-cut pop-mosh potency, ...Heartbreak strikes from a darker angle.
Opera Oblivia redefines the band that redefined hardcore music.
What do you get when members of Mastodon, At The Drive-In and Queens of the Stone Age combine forces?
If I’m The Devil... has presented itself to be a dynamic record that challenges the genre, and who letlive. is in all of their entity.
All our gods may have abandoned us, but Architects never will.
It's everything we wanted it to be.
“WACO plays more like a Godfather Part II than it does another Kick-Ass”.
Straight-up, cut-the-shit hard rock.
12 tracks of arena-flooring anthems with not a second of filler to hold them down, Dissonants is, without a doubt, Hands Like Houses' defining record.
Calling all audiophiles! This one’s for you. The vinyl revival is well and truly upon us and now’s as good a time as any to...
You wouldn’t be faulted for hearing the opening track of Earthbound and thinking, 'Oh, it’s going to be another one of these, is it?'
The whole album is a constant scale-tip between pop and rock.
Basement's Promise Everything sounds like the product of Weezer taking out American Football on a really, really successful first date.
Make no mistake: Polaris are going to be fucking huge. And when they are, we’ll be looking back on The Guilt & The Grief as...