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Concert Review: Unholy Grave, October 25, The Garrison

Posted on
26 Oct 2026
by
Paul

Nagoya grindcore stalwarts Unholy Grave have been around since the early ’90s and they’re still going strong. In town to play a “hangover grind” show as part of the weekend’s Town of Hardcore festival (the bulk of which took place at the Lithuanian House and featured acts such as Youth of Today and Fucked Up), the band certainly made a strong impression at The Garrison on Sunday night, headlining an all-grind lineup that also included MUECO, T.O.A.D. and Last Will.

Vocalist Takaho Komatsu is a compelling frontman. He mostly stuck to the genre’s familiar repertoire of guttural growls but occasionally stepped outside the standard grindcore playbook with a few other tricks, including a cleaner vocal register that at times brought Jello Biafra to mind, as well as the occasional unhinged “muahaha” that suggested either a cackling old-time movie villain or a particularly amped-up Screamin’ Jay Hawkins. For their part, his bandmates hit just as hard, laying down some short and sweet blasts of musical chaos. After 30-plus years and many, many releases, Unholy Grave proved that the old guys can still grind, having lost none of their appetite for sonic destruction.

Song of the Day: Porcelain – DSD

Posted on
23 Oct 2026
by
Paul

Today sees the release of Today’s Minor Victories, the second full-length album from Austin post-hardcore band Porcelain. “DSD” is the latest single from the album, a driving, propulsive number. Check it out.

Today’s Minor Victories is out now via TODO Records.

Song of the Day: Warpaint – New Song (Live in Dallas, 2024)

Posted on
22 Oct 2026
by
Paul

Warpaint are one of the best live acts I’ve seen in recent years. On record, their sound is impressive enough, but in concert is where they really shine. So it’s no big surprise that the LA quartet will soon be releasing Artifact, their first live album, and first full-length since 2022’s Radiate Like This. Check out the live version of “New Song,” recorded in concert in Dallas in 2024.

Artifact is out December 11 via Rough Trade Records.

Concert Review: mercury, October 21, Mod Club

Posted on
22 Oct 2026
by
Paul

“Thanks for coming out early. It means a lot.”

It was a modest sentiment, but one that felt fitting for mercury. Touring alongside Holywatr, the Nashville-based band fronted by Maddie Kerr occupied a slightly different musical world from that of their tourmates, offering a much more subtle, atmospheric vibe than the headliners’ “Let’s open up this pit!” energy.

Frankly, on paper, the pairing felt like a bit of a mismatch musically, but Holywatr’s crowd seemed pretty receptive to mercury’s more subdued approach. Taking to the stage just after 8:00pm, mercury brought a moody, slow-burning sound, pairing grungy instrumentals with ethereal, almost folky vocals. Think Phoebe Bridgers’ vulnerability crossed with Chelsea Wolfe’s darker, gothic edges.

The band closed out their brief set with “Roar of the Heliac Goat,” a song introduced, again in a fairly modest and understated fashion, by Kerr as “a song that just came out.” Kerr also offered up a quick thank-you to their hosts, adding that they put on a really good show.

If I’m being honest, I didn’t really dig what Holywatr were laying down, but I knew going in that they would not be my thing. Thankfully, mercury’s set offered something that was much more my speed. Their music asks for a different kind of attention, drawing listeners in through texture, mood and just the right balance of heaviness and softness

Song of the Day: Tashaki Miyaki- Moving

Posted on
21 Oct 2026
by
Paul

“Moving’ is the latest single from LA duo Tashaki Miyaki, taken off their upcoming album Eternity Chaos, out January 6, 2027 via Blonde Dog Records. Check it out.

Concert Review: Bloodsports, October 19, The Baby G

Posted on
20 Oct 2026
by
Paul

Anything can be a hammer.

On the surface, it’s simply a factual statement. Any item, with the proper heft and applied with a suitable amount of force, can indeed be a hammer. Got a nail you want to nail down? Grab, I dunno, a sturdy shoe, or a nearby rock, and it’ll get the job done. Easy-peasy.

Anything Can Be a Hammer is also the name of the latest album from Brooklyn four-piece Bloodsports, and when paired with the band’s name, things could conceivably take a more sinister turn. Place the words “blood” and “hammer’ in each other’s vicinity and suddenly you’re thinking of some maniac going on the attack. Or maybe that’s just me – after all, I did watch The Slumber Party Massacre the other day, a film where a household tool is famously used as a weapon. But I digress. Back to the review. 

Actually, the more that I think about it, the more apt my reference to an ’80s slasher flick seems when discussing Bloodsports’ set. Like a good horror film, the band can unsettle and entertain in equal measure. And their herky-jerky shifts between slowcore vibes and angular noise rock riffage (think Slint with a dash of Shudder to Think) paired with all-out bursts of screaming could certainly qualify as jump scares if you weren’t expecting them. Much like a hammer, Bloodsports can be quite forceful and effective when they need to be. And that includes the live show.

Touring alongside Kansas trio Flooding (who mine a similar sonic territory as their tourmates), Bloodsports put on a compelling performance. They may not be much for stage banter, but the music is more than capable of speaking for itself.

In a way the band’s sound reminded me of the kind of stuff that used to jolt me awake while listening to CBC Radio 2’s Brave New Waves back in the day. And if you don’t get my use of yet another reference to media from a bygone decade (congratulations, you’re young!), radio programs like Brave New Waves (or your chosen campus radio show of choice) were how we used to find out about cool, weird new music like this back in the day, before the almighty algorithm found everything for us. It was a simpler time. No less noisy, but perhaps a bit simpler.

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