Putting on live shows has its perks. Getting to see a plethora of great live bands is the best, especially when you see one of them that really grabs your attention. The other night at The Cobalt Presents and Audioeclectica June Showcase at Hotel Ziggy in Hollywood, we had 6 really great up and coming bands. One of which not only grabbed our attention but the entire venue itself.
CatRat is a name you should take note of. At only twelve and thirteen years old, Molly (drums/vocals) and Frances Macias (guitar/vocals), are roaring into venues and straight up slaying audiences. CatRat’s an alternative punk band that mixes garage rock, surf rock and a tinge of metal into their very infectious songs. Their live performance is controlled chaos at its best. Another great aspect is the amount of fun that is had not just on stage but in the crowd as well. Danger and fun have been missing from music and yet, these two sisters get it!
The two singles released “Running Over Kids” and “Lemons” could have easily been released in the mid 90’s. There’s a recognizable feeling that hits back but, feels fresh.
More bands like CatRat please! Be sure to see CatRat when you see their name on a show. You won’t regret it!
Rock music has always been about feeling. No matter the genre, the “feel” of the music propels you to hear things in a whole different way. When the music hits right and the words convey a thought that strikes the right chord, that magic is what keeps us all coming back. These days finding a real rock band that does that is quite difficult. So many bands have sounds that while are rooted in straight rock music, it’s a convoluted mess. The Pretty Reckless though, they’re the real deal. And on album number five, Dear God, that “feel” is what sends this record to the heavens.
The Pretty Reckless have put in a really solid amount of time to write an album that feels like a hard rock albums you’d find from the 1970’s mixed with the early 90’s. Taylor Momsen, Ben Philips, Mark Damon and Jaime Perkins have quite the chemistry on this album in a very deep way. Each song is a journal entry that comes to life through Taylor’s vocals. Songs like “For I Am Death,” “When I Wake Up,” “Love Me,” “About You” and “Dear God” are quite the rock songs packed with vigor and emotion. Then you get into a mid tempo territory that gets extremely raw the further it goes. Especially on songs like “Eye Of The Storm” and “Devil In Disguise (Michelle’s Song).”
Upon first listen, the album may seem front loaded but, it actually gets deeper the further you get into the record. There’s a lot of words within the lyrics, it all plays out in a journal come to life. Sure it’s something we all do but, to have someone who grew up in an industry that will eat you up and spit you out just as easily as it will make you feel like you’re the one, it’s quite introspective and revealing. The performance in Taylor Momsen’s vocals are full of every piss and gasoline. Its blues meets grunge and a tinge of goth. Making for a nice twist and turn as it is woven into the accompanying music.
The Pretty Reckless absolutely won me over with their 2021 album Death By Rock And Roll. This is a really solid album and follow up. Definitely look forward to hearing these songs live.
The element of surprise and evolution in music is one of the many things which makes people keep coming back to a band. For Genghis Tron, both of those qualities permeate through all of their songs and albums. Just as their 2021 return did with the atmospherically heavy Dream Weapon, the way in which Genghis Tron shape shifts through genres is stunning. Their new album Signal Fire, lights a very powerful path through the start of the band into a very intricate evolution that blooms to a vibrant and visceral sound.
Being a band that can weave melody and hooks into this style of music is an art form. Across the ten songs that make up Signal Fire, there is no letting up. While the atmospheric tension from Dream Weapon is apparent, the sharp left and right turns that blend into heavier experimental territory is very exciting. Signal Fire is an urgent record that calls to the now of a very fragile time.
Starting things off with the call to arms that is “I Am All,” truly sets this album off ablaze. Moving into the title track, you can feel and hear a plethora of treats as it plays out. “Future Worship” is a blast of a track. The playfulness lets you take it all in. “Like Fotochrom” is a great “calm before the storm” track that has a fun futuristic sound. “Tomorrow Mirage” is a burner! Just one listen will wake you up. “Nothing Blooms In The Hollow” is a banger of a song. The perfect mix of classic GT with all the new and a melodic cherry on top. “Without Form” is a subtle segue into the onslaught that is “Born Prey.” By the time you’re listening to this song, the sheer magnitude of volume should evoke auditory clarity! “A Love So Pure” is a great bit of departure from the heavy while still being heavy. The more post-hardcore vibe of the song makes it a great penultimate song. Closing out the album is “New Gods” one of the best end of album songs of 2026. The hypnotic sensibility of the song mixed with the electronics makes it a bit of a psychedelic sensation.
The core of Genghis Tron is Hamilton Jordan and Michael Sochynsky. The additions of vocalist Tony Wolski and drummer Nick Yacyshyn are impeccable as each adds their own distinctive character to these songs and makes Genghis Tron into the band that comes to life. The four of them have made Signal Fire one of the best albums of 2026. It’s interesting, when listening, if you are not familiar with the band, you might think something feels out of place but, it all makes perfect sense in the end. Personally I can’t wait for the tour. One can only imagine how much these songs will come to life in that setting.
Earlier this year, Converge released their tenth studio album, Love Is Not Enough. Right out of the gate that album hit you like a pile of bricks. Then a sudden left hook came out of nowhere and the announcement of a second album to be released a few months later. And now we have arrived at that time and Hum Of Hurt, is everything you’d hoped it would be and then some.
Never a band to rest of their laurels, Converge explore every single nuance of influence and inspiration on Hum Of Hurt. There’s a very up front and confrontational approach to a lot of these songs that comes from the depths of each member of the band. One of the best aspects of the album is the sense of groove. The abstract atmospheric elements ooze out of the rhythmic grooves and blasts. While Love Is Not Enough leaned more into metal territory, Hum Of Hurt leans more into noise rock and emotional hardcore. The combination of those and their signature sound, propels this album past the previous.
Each song has its own charm and place. The sequencing of the album is tremendously satisfying. The way the album starts with the very image inducing “Slip The Noose,” you know that this is going to be a record that will tighten your heart. “Doom In Bloom” into “It Only Gets Worse” is a stellar one two punch! Then comes a trifecta of oblivion and obliteration with “Detonator,” “I Won’t Let You Go,” and “It’s Not Up To Us.” At this point catching your breath is a smart idea as “Dream Debris” sweeps you into a new realm. Just as you think the dust has settled, you’re thrust into the final three songs “It Used To Matter,” “Hum Of Hurt,” and “Nothing Is Over.”
What is accomplished here in thirty three minutes is near legendary. This is the year of Converge. It’s started out that way and it’s continued. There’s a feeling to this record too that makes you want to hear it played live in full. I can only imagine the sonic boom of intensity from that. Hum Of Hurt is a soon to be classic not just for Converge but, the genre as a whole.
The idea of finding a band name that encapsulates the music is never easy. Luckily for Richard Patrick of Filter and Photographer and There Is No Us vocalist, Jim Louvau, A Place To Kill was not taken, as that is quite the band name to debut their new band. There’s an eerie feeling that resonates through the post industrial sound. By delving into EDM and its many sub genres, A Place To Kill has found its kill room.
Each song found on their debut EP, blends crushing electronics that hit at fun nuances, trap beat rhythms, and unadulterated dual vocals that alternate between seething aggression and controlled chaos. These are songs designed to hit hard, provoke, and challenge the status where electronic music can go. The songs themselves from “The Killing Field” through “Something Inside Of Me” explore intriguing themes of the world of today and the future of tomorrow. Through the screams, melodic undercurrents and other urgent vocals, these themes are conveyed in a manner that calls you to attention. Songs like “Jet Engine,” “What Feels Right,” and “Drown In A Sea Of Sorrow,” carve their own niche into the lyrical themes that accentuate the heavy distorted synths, deep grooves, and eerie atmosphere that amplifies the direct unease.
The duo of Richard and Jim is quite seamless. You can hear in this that both have a great contrast of styles and influences that makes A Place To Kill not the run of the mill/generic electronic project. There’s a great deal of potential where this can go and I’m quite intrigued by the possibilities.
The end of the world is closer than ever and having a soundtrack to accompany that feels right. A Place To Kill have made an EP does just that. And live is going to be absolutely crushing and have the crowd screaming and dancing to usher it all in.
When you hear an album or a song that sonically catches your ear first, you know that what you’re hearing is meticulously crafted. The was exactly what happened the moment, I heard Monolord’s song “You Bastard,” the first single from their long awaited new album, Neverending. Across forty minutes and only eight songs, Monolord, has taken doom/stoner metal into higher ground that will make your speakers excited.
The thing with doom metal is that it can be drawn out and go nowhere. Thankfully, Neverending is not one of those album. Instead, Monolord, makes quite the engaging album. The focus and sequencing of this album is remarkable. From the way “Iodine” kicks off the album, you know you are in for something more. “You Bastard” feels like it’s straight out of the 1970’s, the way the fuzziness sounds and plays out. “Inside A Collider” is a trip of a song. Plus the placement of it makes for an interesting turn. Then it’s back to the heavy with “Crystal Bridge” which, also hits with a left turn that’s just so perfect. “Oozing Wound” is a killer song with a bass riff that would make Justin Chancellor of Tool stunned. “The Masque” and “Invisible” are a 70’s burner for sure. So much so, that such a trip back, it might make your pants into bell bottoms. Closing out the album is “It’s Neverending.” This just might be the bands heaviest song to date. There’s epic qualities to this song that feel like they are pulled from the depths of doom.
As great as the album is, the other star is the production by Sylvia Massy. The way this album sounds is a triumph. Especially in an age where technology is heavily relied upon, going back to the well, sounds oh so right. The dynamics of each instrument, note, vocal, and subtle nuances are divine. This is truly one of the best sounding albums of the year. Sylvia is known for her work on early albums by Tool and System Of Down. And here, it’s brilliantly done by a seasoned professional who truly knows and understands what albums and real sounds truly sound like.
Do yourself a favor and carve out about an hour to sit with Neverending and let it just transport you back to the 1970’s but in a 2026 way. Albums like this will become sonic standards for the future. Especially when making this kind of music.
When you ignite the future with the right bands, there is a good chance you can see where music is headed. For too long, modern heavy music has gotten too overproduced and frankly generic. Granted that sounds like a blanket statement, when there are bands out there that don’t fall into that trap. Instead what’s happening is a bands full of youngsters are providing a resurgence of a more raw and invigorating sound. There is one band in particular that has caught my attention for some time and has chosen the punk and hardcore route, XCOMM.
XCOMM have released their debut album, Time To Burn, and just like its title, that statement rings very true in a multitude of ways. Across eleven songs and thirty minutes, this unrelenting five piece band, rip through the gamut of the best of what hardcore punk is. While influences like Minor Threat, Black Flag and Bad Brains are the foundations of the genre and can certainly be heard here, Xcomm don’t rest on that. What you hear is part homage and the rest is pure and full of promise.
Kicking things off is “Reasons” a shotgun blast right out of the gate. This is just that start of the boiling tension that starts this album. Also the video for this song was directed by Dean Karr and perfectly executed that feeling. Check it out! Next is “Hot Pursuit/One and Nothing” a two for one song that shows that promise I mentioned earlier. Just listen. “Fake ID” is a fun barnburner of a track. And again, a fun video worth watching. “Borrowed Happiness” is a thrashy punk song that hits at the right melodic tinges. The title track “Time To Burn” is a to the point statement. “Pirates” continues the onslaught with guest vocals from Ghostmane. “Running Zeros” is a departure from the frantic frenzy. In fact this standout is song that shows another side of the band. There’s some great little subtle nods in this song as well towards those inspiring bands. “Relevance” returns to the punk sound with a snarl and crashing backdrop. “No Teeth” will definitely get circle pits going. It has that vibe right from the beat drop. “Purity” is eighty seconds of a a slamming good time. Closing out the album is “Negativity.” Don’t get that twisted though, this song packs a ton of optimism for what’s to come from XCOMM.
What Ross Robinson was able to get from XCOMM on Time To Burn is exquisite. The raw prowess of the production combined with ferocity of the songs really makes for a great listening experience. Having seen the band live, a good amount of their live energy is here in a way that only Ross can capture. Each band member has their own moments through that shows not just their musical abilities but, shows how each member plays a dynamic role in these songs.
XCOMM are without a doubt legit. They have the live show, songs and energy to make you a fan. Time To Burn is a great debut and one hell of a way to get your attention. There is a definite throwback element to this album too that, if you came of age at certain points, will remind you of that time in the best of ways. It’s worth noting too that for all the seriousness on this album, it’s also a fun record. And who can’t use a little fun in their life?!!
One of the albums I’ve been anticipating most of 2026 has arrived! Grey, the debut album from Held., is more than just a debut album, it’s one of the most personal and compelling albums of the year.
Grey is the album you didn’t know you needed. While many bands say they wear their heart on their sleeves, Held. is literally pouring themselves out on these songs. The melodic yet heaviness of these songs permeates through the entire album.
The way the album begins with “Defending The Earth” and the very urgent lyrics comes out of the gate with pure intensity. From there the next three songs explode in your speakers. I’m still amazed at “Constant Tension” and the heart strings it pulls on. “Waves Of Fire” is another gem of a song in the way its speed propels the second half of the album. The title track “Grey” is as emotionally charged as it is anthemic. That’s a recurring theme found throughout. It’s not so much about empowerment but, more about self awareness and realization. “I and I Against You All” is one of those songs that hits on the previous theme only this one is more empowering. “Through The Cracks” feels like a very classic post-hardcore song along the lines of Jawbox. “Broken Spacesuit/Decay And Sand” is epic. This Failure-esque song is spacey all the while introspective. Closing the record is “Emptiness: A Side Effect” a song that is an instant classic. This is one of those songs that will make you want to listen again and again. What a song. I’d go into more detail about it but that would just take away from your own listening experience.
The lyrics of singer/guitarist Douglas Robinson are beyond personal and memorable. The way he writes speaks to the listener in a way that it gets under your skin in the best way. Some of my favorite lyrics of the year are on this album. In particular the closing song has my favorite line “Side effect of every side effect you ignore.” What a line! I can hear the audience singing along to this! The rhythm section of Sal Mignano and Josh Eppard is a revelation of thunder. The way they play off each other and create a great tension that plays off the guitar. One of the other aspects of the album that stands out is the production. The way the band feels alive throughout is stellar. You can feel the energy and breath of the performances. Which is something that is missing in modern music.
Grey is hands down one of the best albums of 2026. Having a debut album hit the strides this one does is astounding. Held. have arrived and I genuinely hope are here to stay. The grasp they have on the listener via this album is one that I don’t want to let go of. This is one of the best debut albums I’ve heard in a long time. You wouldn’t even think this is a debut based on the quality of the songs and how great this band sounds.
Late last year, I introduced you all to the band The Owling. Their debut album, You Don’t Bow, You Will Learn” hit me out of nowhere and was a perfect end note to the year. Now, Kal Michael (guitar/vocals) and Art Quanstrom (drums), have kept their creative flow going and have released a new EP titled, Intravenous Flow.
Intravenous Flow is quite the perfect title for this release. Clocking in at just about twenty five minutes, the way this EP plays out really feels more like an album. The title track, “Intravenous Flow” starts things off and truly does have quite the flow. The delicate nature of the guitar creates a warm texture against the ambient cymbals and drums, while the vocals float on top. In a way there’s a post punk tinge to go along with the doom riffs and thunder drums. “Hollowed” is quite possibly my favorite song by The Owling. There’s a really cool almost Neurosis vibe to this song and it’s one of those really great slow burn songs. And then comes the cover song you didn’t know you needed, Ozzy Osbourne’s “Mama I’m Coming Home.” I quite enjoy this version. The way it pays homage to the original but, sways more into Sabbath territory is treat. Closing out this record is an acoustic version of “Intravenous Flow,” And what I said prior still stands, this one truly is THE delicate one.
I haven’t had the chance to see The Owling live yet but, I sure will soon. These songs live are going to be huge! The Owling aren’t just the a typical doom/insert other genre here band. When you listen you hear substance and depth. Something that is truly missing from so much rock music these days. Take your time with this record and really listen.
The idea of making an “album” these days seems to escape most bands. While so many are so focused on the quick song or short attention span fans, Failure have returned with their seventh album, Location Lost, and remind everyone why making an album is so important.
Location Lost is an album that shows Failure at a vulnerable and fragile state that draws from personal, societal trauma and issues. When you put this album on and the crisp sound comes bellowing out of your speakers, it’s a passionate and deep presence felt. There truly is magic between the music created by Ken Andrews, Greg Edwards and Kellii Scott. Each brings in a unique batch of influences and styles thus creating a tour de force of music and art.
Across nine songs and forty minutes, Failure does what they do best, rock! The album opens with “Crash Test Delayed” a delicate space rock song that incorporates the bands early post punk/new wave influences. For a moment you can feel like it’s 1986 but, then realize it’s 2026. “The Rising Skyline” is a beautiful mellow-dramatic piece. The collaboration with Hayley Williams is the perfect choice. Her vocals on the second verse and then intertwined with Ken and Greg’s voices, is stunning! “Solid State” picks up the energy and glistens like a twinkling star. “The Air’s On Fire” is a gem. It’s one of those songs that makes you turn up the volume. You know where too. “Halo And Grain” strikes you with a grabbing bass line that lets you glide into quite the melodic treat. “Someday Soon” is another in the post punk/new wave song, with a sweet twist of melody and delicate pulsating rhythm. The title track “Location Lost” is another treat. It has an almost Magnified era vibe to it as well. “A Way Down” is going to be a classic in the bands catalog. There’s such a fun to this song that it really makes you want to play this one while “taking a ride, with your best friend.” Closing this album is “Moonlight Understands.” The unfolding subtleness allows you to drift along into a fuzzy state that leaves you contemplative.
For those that are new to Failure, this album might not grab you at first. Stay with it though as everything you enjoy about Failure is here in this album. As I mentioned earlier, their post punk/new wave influences shine throughout. Even the production of the album pulls from some of those early albums. If you have a really great set of headphones, put them on while listening. You’ll get a whole other listen out of it. It has been talked about that this could be the final album for the band. If so, it’s a real delight to hear the honesty and passion of Ken, Greg and Kellii. I sincerely hope there is more to come from Failure. For now though, Location Lost has now been found with Failure.
