BierschinkenFire Sale & Pulley - Split Personality. Genug melancholische Grundierung in den Songs mit schnellem Schlagzeug und rauer Oberfläche, um kein belangloser Hintergrundsoundtrack zu werden. bierschinken.net/review/5525-p… #melodicpunkrock #punkrock
Letztens beim Acid Fest in Lennestadt mit Frozen Acid, OK Coach, Rivershores, Shin Care - bierschinken.net/dae/2026-04-0… #punk #melodicpunkrock #midwestemo #poppunk #punkrock
Thoughts Words ActionTHRONK! Join Engineer Records, New CD EP Slated For Spring
Engineer Records is delighted to announce that THRONK! are joining their roster.
They also have a bunch of great gigs lined up, and will be rocking Rebellion Festival and Bristol Punx Picnic this year, and are always looking for more parties they can crash.
The label plans to release a digipak CD EP entitled ‘Kick Me While I’m Down’ unleashed into the world asap this Spring, and probably follow it with a limited edition vinyl version too, before they get around to a full LP later in the year.
#melodicPunkRock #MUSIC #NEWS #PUNKROCK #THRONK
DAVES – An Ode To Upper Management CD (Little Rocket Records)
If you have been keeping a close eye on the UK DIY scene lately, you know that Leeds is currently a pressure cooker of incredible talent. It’s a city that has always understood the assignment when it comes to blending spirit with intelligence, and the DAVES is the latest group to emerge from that northern powerhouse. This three-piece melodic punk rock outfit has just dropped their debut full-length, An Ode to Upper Management, and honestly, it is exactly what the DIY scene needs right now. Released on March 1st, 2026, fittingly enough on St. David’s Day, this 9-track collection exemplifies how to be confrontational without losing your sense of melody. The first thing that grabs you about An Ode to Upper Management is the raw punk attitude that saturates every second of the recording. They sound like a band thrashing it out in a rehearsal space, yet they possess a modern post-hardcore edge that keeps it feeling fresh and relevant. The title itself is a brilliant bit of wordplay, acting as both a sincere nod to their better halves who keep the wheels turning and a sharp critique of the hierarchical structures we all have to navigate in our daily lives. That duality of personal gratitude and social frustration makes this material so excellent.
When you dive into the vocal performance, you quickly realize that DAVES isn’t your average “three chords and a shout” punk band. The lead vocals are soulful, passionate, and incredibly emotional. The blend of vulnerability and aggression makes this performance even more appealing to the ears. With the additional back vocals and sing-alongs, it really pulls you into a whirlwind and forces you to sing with them. These layers create a communal vibe that makes you want to join the fray. It’s that classic punk rock trick of making the listener feel like part of the band, and DAVES executes it with perfection. The guitar work carries more than enough melody to satisfy the pop-punk crowd while maintaining a level of aggression that will please the hardcore purists. We are talking about excellent, catchy, and highly memorable chord progressions that serve as the bedrock for every track. The riffs are engaging and consciously constructed, avoiding the trap of mindless speed for the sake of speed. Instead, the guitar melodies act as hooks that stay lodged in your ears long after the final chord has rung out. There is a distinct post-hardcore influence in the way the guitars interact with the space in the songs, allowing for a more thought-provoking listening experience than your standard four-on-the-floor punk record.
Of course, a power trio is only as good as its rhythm section, and the engine room of DAVES is absolutely locked in. The bass guitar provides more than necessary groove, depth, and clarity. It doesn’t just sit in the background. It’s a living, breathing entity that binds the melodic guitar flourishes to the percussive assault. You can hear every note, every run, and every transition with perfect clarity, exemplifying both the playing and the production. The bass acts as the glue that keeps the sound massive, even when the guitar breaks away for a lead or a more atmospheric passage. The drummer keeps everything in line with such precision while simultaneously dictating a pace that feels like a runaway freight train. You get a steady diet of well-accentuated beats, but the band also throws in plenty of breaks, fills, and other percussive acrobatics that keep the listener on their toes. The drums are an active participant in the storytelling, accentuating the emotional highs and lows of the lyrics.
Thematically, DAVES is a band with a lot on its mind. They aren’t interested in writing songs about nothing. An Ode to Upper Management is an exploration of the hierarchy of life, those invisible (and sometimes very visible) structures that dictate how we live, work, and interact. The lyrics are confrontational and designed to challenge the status quo, yet they are delivered through music that is inherently catchy. It’s a “sugar-coated pill” approach to social commentary. You come for the hooks, but you stay for the message. They touch upon the idea of comradeship, the necessity of a support system, and the friction of modern existence in a way that feels incredibly sincere. An Ode to Upper Management is a must for any true fan of melodic punk rock and alternative music. It’s an exceptional debut that proves you don’t need a million bells and whistles to make a profound statement, you just need three people, a lot of passion, and something important to say. DAVES is ready to take on the world, and after listening to this record, you’ll likely be ready to follow them.
Leeds has given us a lot of great bands over the decades, but DAVES feels like they are carrying a particularly bright torch. This is honest, energetic, and highly intelligent music that deserves a spot in your rotation. Do yourself a favor and check this one out immediately.
#ALTERNATIVE #DAVES #LITTLEROCKETRECORDS #melodicPunkRock #MUSIC #PUNKROCK #REVIEWS
Interview: I.D.K.
Photo courtesy of the band.Following the release of their latest single, “Nark 5,” we sat down I.D.K. to peel back the layers of their catchy, memorable, and energetic sound.
In this conversation, we dive deep into the thematics driving their lyrics, thoughtful songwriting and composing process that allows them to balance hardcore punk energy with a larger-than-life scale. We also get a glimpse into what’s next for the band, including their upcoming music video collaboration with Stone Fisted Production and their ambitious plans for the future.
Hello, thank you for taking the time to answer these questions. How have you been?
I have been well. Can’t complain.
It’s been over a decade since your last original release. Coming back in late 2025, did “Nark 5” feel like the natural first choice for a comeback, or were there other tracks in contention?
No other tracks when we wrote Nark 5. Nark 5 was the spark that drew us out of the life cave and back into the creative expressive side of the world. We are working on more tracks now but at that time our goal was to get a fresh new tune out there.
You’ve cited Star Wars: Andor as the primary catalyst for this track. What was it about the Narkina 5 that specifically resonated with the punk rock ethos of I.D.K.?
Just like in life, there’s always a fight. There’s always some force trying to wreck something good, trying to inject chaos into what’s working. It never stops. It’s always something.
To me, punk is about doing your thing and saying fuck everything else. Fuck the noise. Fuck the pressure. Fuck anyone trying to tell you who you’re supposed to be. The second you cross the line and violate my freedom — or anyone else’s — then it’s on. That’s when it shifts from punk rock to a hardcore beatdown, metaphorically speaking… or in the case of the prison break, literally.
Nark 5 is about the Empire’s bullying — about being pushed, controlled, and locked down — and then finally fighting back. It’s about breaking out and crushing the bully at the end of the prison break arc. That moment? That’s punk rock at its purest.
The song shifts between the perspectives of Cassian Andor (Keef Girgo) and Kino Loy. How did you approach translating those two very different emotional states, the confusion of capture versus the desperate leadership of an escape, into the music?
I feel like both situations share that same kind of crazy intensity. There’s the mental shock of being taken against your will, and then there’s the raw, survival-mode intensity of a life-or-death situation.
I knew right away that both of those moments matched the energy of the music. So what I did was split the song in half — the first half captures the abduction, and the second half drives the prison break.
You also plan to release a music video, done by Stone Fisted Production. How do you feel the visual narrative enhances the cinematic sound you were aiming for?
The video is almost finished. Nedd from Stone Fisted is doing an incredible job with it — he’s really bringing it to life. It’s currently in the post-production phase, and we’ll be announcing a premiere date soon.
I think people are really going to dig it. It’s a great blend of our live performance energy with the Narkina 5 imagery and concept woven throughout. We had a lot of people help us make it happen, and it’s definitely going to be a fun one.
How has the songwriting dynamic changed between you all since your 2008 releases? Is the process more collaborative now, or does it still start with a singular spark?
With Nark 5, the process was more collaborative. The initial spark came from Fabio and Mike, whereas I’m usually the primary songwriter.
Our 2008 EP was officially released in 2008, but it had actually been recorded a few years earlier. Those songs were created in a less collaborative environment, although all the members at the time still weighed in and gave their input on the material.
You’ve described the new sound as having cinematic dynamics. For a veteran hardcore punk band, how do you balance that grander, more polished scale without losing the raw, basement-show energy fans expect?
I’d say Nark 5, especially when combined with the video we’re making for it, has a very cinematic vibe. The song tells a story you can really visualize through the lyrics and the energy it gives off.
The video leans into that as well — there’s a strong cinematic feel, with storytelling woven into the visuals. That said, we feel it still falls right in line with our previous material sonically. The grit? That really comes out in our live shows — and that hasn’t changed.
Musically, “Nark 5” feels so precise. Did the long break change how you approach your instruments or the gear you use in the studio?
Not at all. In terms of playing and our overall approach, we stuck to what we’ve always done.
“Nark 5” deals with the cost of freedom. In today’s political and social climate, do you find yourselves writing more about fictional resistances as a metaphor, or do real-world events still bleed into the lyrics?
A little of both. It’s nearly impossible to keep the real world from bleeding into the lyrics — especially with Nark 5, given the current political and social climate.
How does the North Jersey/Cliffside Park scene look to you in 2026 compared to when you were last active? Is that old guard spirit still there?
It absolutely is. I.D.K. will forever be associated with being one of — if not the first — hardcore/punk bands from the area to really make a mark.
There aren’t necessarily as many shows happening like there were back in the day, at least to our knowledge, but people remember. The spirit is still there, and it gets passed down to the younger kids.
Whenever we play gigs up in the North Jersey area, there are always Cliffside and Fairview people representing at the shows.
You’re now releasing via Scorpion Records across platforms like Spotify and Bandcamp, tools that weren’t the standard back in 2008. How has navigating the modern digital landscape changed your perspective on being an independent band?
It hasn’t necessarily changed our perspective. What it has done is give us more tools at our disposal when it comes to promoting and getting the music out there — which is cool.
Does it take a little away from the more socially organic way things used to work — passing music through friends, grabbing a physical CD or record, and not having access to it outside of that? Sure.
There are pluses and minuses to it.
Hardcore and punk have undergone numerous sub-genre shifts over the last 15 years. What’s your take on the current state of the genre? Is it healthier now than it was during your hiatus?
That’s hard to say. I’m an older head, so I’ll always love what I experienced growing up in the New Jersey hardcore scene in the ’90s. I don’t get out to see shows as much as I’d like to these days, so it’s tough to really speak on the current live gig vibe.
I do follow newer bands online, though, and there are a lot of great ones out there — especially the heavier beatdown and metal-influenced hardcore bands. From what I can see from a distance, that scene is raging.
I don’t see as many bands like us, with more of a traditional punk/hardcore influence in the style. But that could also just be me being a little out of touch, haha.
“Nark 5” is the lead-in for a new EP on Scorpion Records. Can we expect a full concept record based on similar themes, or will the EP explore different territories?
Good question. We’re in the process of putting the music together now. Once we get into writing the lyrics, we’ll see where it takes us. It’s hard to say right now.
Now that the music is out and the video is on its way, what do the touring plans look like for 2026?
We haven’t played any gigs yet since the release of Nark 5, but we’re definitely excited to see how the crowds react — especially once the video drops.
Photo courtesy of the band.How are the new tracks, especially “Nark 5,” translating to a live setting? Is there a specific moment in the song where you really feel the crowd rising up with you?
Again, we haven’t gigged since the releasee so, we shall see!
What do you want the “2020s era” of I.D.K. to be remembered for? Is this a one-off reunion, or is the engine fully restarted for the long haul?
I’d say we’re like an engine that moves steadily, going where it can, when it can. Yes — we’d love to keep this going for the long haul. Our pace and the way we approach it will ultimately determine that.
That’s it. Thank you so much for your time. Anything you would like to say to our readers at the end of this interview?
Absolutely. First, we want to shout out our friend—and sometimes sixth member—Scott Dorey, who’ll be helping with guitar duties at our upcoming March 7th gig in Morris Plains New Jersey at the Autodidact.
Also, Nedd Jacobs and Stone Fisted Productions, who directed our upcoming Nark 5 music video. He’s doing a great job, and we can’t wait to release it.
We also want to give a shout-out to Scott Earth of Scorpion Records to help with our releases and promotion.
Last but certainly not least, our families—for putting up with the noise and the scheduling. I.D.K. simply wouldn’t happen without their support.
#HARDCORE #HARDCOREPUNK #IDK #INTERVIEWS #melodicPunkRock #MUSIC #PUNKROCK
Box Elder Readies Debut Album For April Release Via Steadfast Records and Sweet Cheetah Records
Photo courtesy of the band.Box Elder releases its debut LP on April 10 via Steadfast Records and Sweet Cheetah Records. It marks a profound evolution for the Salt Lake City-based project. What began as Chris Archuleta’s solo bedroom endeavor during the isolation of Covid has blossomed into a full-band collaboration that captures the raw emotional landscape of personal struggle and growth.
Across these tracks, Box Elder explores the turbulent territory of mental health, charting the ebbs and flows of anxiety, the ache of love lost, and the persistent fear of never quite finding where you belong. These songs are born from four years of experiences, transformed into anthems of vulnerability and resilience.
This is the first Box Elder album shaped by the creative input of each member, bringing new dimensions to Archuleta’s songwriting. The result is a sound that channels the melodic urgency of The Get Up Kids and Jimmy Eat World while carving out distinctly personal terrain. Recorded by Archuleta himself (his first major self-production undertaking), the album balances raw intimacy with polish that honors the emotional weight of these songs.
The striking cover artwork by Stella Vickland-Davis features mannequin pieces controlled by box elder bugs, a visual metaphor that perfectly captures the album’s themes of agency, transformation, and the small forces that guide us through uncertain times.
For fifteen years of making music, this LP represents Archuleta’s most complete artistic statement and a powerful new chapter for Box Elder.
The Box Elder LP is available for pre-order now on limited edition lavender eco-mix vinyl, only 200 copies pressed. Each record features stunning artwork by Stella Vickland-Davis, depicting mannequin pieces controlled by box elder bugs, a visual metaphor for the unseen forces that guide us through uncertain times.
Preorder here.
Another single from the band hits digital streaming platforms on March 6. Look for “Chucklefuck” wherever you listen to music.
Catch the band live:
Thursday, March 5, 2026, Pearl on Fifth, Midvale, Utah
Friday, May 15, 2026, The Sugar Maple, Milwaukee, Wisconsin
Org Music Continues Its Comprehensive Descendents Reissue Series With “Enjoy!”
Org Music continues its comprehensive Descendents reissue series with Enjoy!, the third installment in the campaign celebrating the band’s foundational catalog and the latest release since the group reclaimed ownership of their master recordings. Originally released in 1986, Enjoy! captures Descendents pushing fully into their instincts, doubling down on short, fast, melody-driven songs that balance juvenile humor with sharpened songwriting and unmistakable urgency.
While the band had already helped define what would become pop punk, Enjoy! finds them expanding the formula without losing intensity. Tracks like “Hürtin’ Crüe” and “Get the Time” channel irreverence through speed, melody, and tension, while subtle new wave and pop touches—including a punked-up take on The Beach Boys’ “Wendy”—broaden the band’s sound without dulling its edge. Forty years on, Enjoy! remains a defining entry in the Descendents catalog and a crucial document of the band’s restless evolution.
This new edition arrives April 24, 2026 on LP, CD, and cassette, with multiple color-vinyl variants. Produced in close collaboration with the band, the reissue brings Enjoy! back into print across formats with careful attention to presentation and detail.
Among the vinyl offerings is a limited “Punk Note” edition featuring alternate packaging by John Yates (Stealworks), inspired by the iconic jazz designs of Reid Miles and Francis Wolff, whose work helped define the Blue Note label. This visual reimagining of punk classics continues the aesthetic series that began with Org Music’s Bad Brains reissues. Each “Punk Note” title includes new liner notes by BrooklynVegan senior editor Andrew Sacher and is housed in a deluxe case-wrapped jacket.
The Enjoy! reissue follows Org Music’s widely praised reissues of Milo Goes to College and I Don’t Want to Grow Up, forming the third chapter in an ongoing archival series dedicated to keeping Descendents’ core albums in print across formats for longtime fans and new listeners alike.
Pre-order: https://orgmusic.com/collections/descendents
#DESCENDENTS #melodicPunkRock #MUSIC #NEWS #PUNKROCK
Ugly Criers – Catching Spiders CD (Little Rocket Records)
The United Kingdom has consistently remained one of the most vital global epicenters for punk rock music, with specific regions developing their own distinct, highly recognizable sonic fingerprints. When you examine the lineage of the Sunderland punk scene, you uncover a rich history of bands prioritizing raw emotion, gritty realism, and definite melody over flashy commercialism. Ugly Criers carry this torch into 2026, a power trio that has mastered the art of doing more with less. Their latest compact disc offering, Catching Spiders, exemplifies straightforward, honest, and highly emotive music. By stripping away all unnecessary studio trickery and relying entirely on the core trinity of guitar, bass, and drums, the band has crafted an intimately relatable record. Recorded over a three-day session in July 2025 at Rocket Studios under the watchful eye of producer Graeme Philliskirk, a man whose resume includes legendary Northern acts like Roach Squad, Leatherface, and Bull Taco, this album perfectly captures the raw energy of a band thrashing it out in a sweaty basement. The production is completely transparent, allowing the natural grit and character of the instruments to shine through while maintaining a modern, punchy standard.
Lyrically, Catching Spiders completely bypasses the tired, cliché tropes of youthful rebellion or broad political sloganeering. Instead, Ugly Criers turn their conceptual lens sharply inward, focusing on the brutal, often exhausting realities of navigating modern adulthood. The lyrical framework of this record is exceptionally grounded and deeply poetic, which makes perfect sense considering the words are pulled directly from the poetry of drummer Nina Mackie and the creative mind of guitarist Greg Robson. Throughout the album’s runtime, the band explores highly relatable themes that resonate deeply with anyone trying to keep their head above water. They tackle the overwhelming, daily pressure of coping as a parent, dissecting the anxiety and unconditional love that comes with raising a child in an unpredictable world. They navigate the treacherous waters of relationship woes, offering a brutally honest look at the miscommunications and heartbreaks that occur between partners. Perhaps most poignantly, the band dives headfirst into the struggles of mental health, brilliantly conceptualized as battling the toys in your own head. This is working-class poetry delivered over overdriven amplifiers, making the entire listening experience incredibly cathartic for the everyday individual.
The vocal performance on this CD serves as the absolute perfect vehicle for such heavy emotional baggage. The lead delivery is marvelous, possessing a subtle, gravelly touch of genuine and lived-in rawness. When the emotional intensity of the lyrics demands a higher gear, the vocals break into a passionate, shouty register. These aggressive vocal outbursts perfectly convey the frustration, desperation, and exhaustion described in the lyrics, making sure that the listener feels every single word. However, the true magic of the Ugly Criers’ vocal attack lies in their brilliant use of contrast. Threaded throughout the gritty lead performances are highly catchy, anthemic additional female vocals. These harmonious sing-alongs provide a stunning, uplifting counterpoint to the rawness of the lead, elevating the choruses into massive, stadium-sized earworms. The interplay between the gruff lead and the melodic backing vocals ensures that these arrangements remain firmly lodged in your listening apparatus long after the CD stops spinning.
Operating as a three-piece band is a highly demanding endeavor. There is absolutely zero room for error, sloppy playing, or filler material, as there are no backing tracks or secondary guitarists to hide behind. The six-string execution on Catching Spiders is exceptional, expertly filling the entire sonic spectrum. You are treated to highly catchy, memorable, and engaging chord progressions that form the undeniable backbone of the classic Sunderland melodic punk sound. Instead of relying solely on simplistic, repetitive power chords, the guitar work frequently utilizes intricate, arpeggiated chord progressions and highly kinetic riffs. These sonic maneuvers provide a massive amount of melody and harmony, proving beyond a shadow of a doubt that a band can achieve a huge, rich soundscape with just one guitar. The tone is perfectly saturated, distorted enough to provide the necessary punk rock bite, but clean enough to allow every single note in the arpeggios to ring out clearly. A power trio relies entirely on a rock-solid rhythm section to maintain its structural integrity, and Ugly Criers boast a truly phenomenal duo holding down the low end. The bass guitar offers tremendous groove, depth, and clarity, entirely avoiding the amateur trap of simply mirroring the root notes of the guitar riffs. The basslines are warm, articulate, and highly active, acting as the crucial binding agent between the soaring melodic leads and the heavy percussive foundation.
Speaking of the percussive foundation, the drumming performance is the racing heartbeat of the entire record. The percussion keeps everything perfectly in line while expertly dictating the relentless groove and pace of the album. The drum tracking is loaded with well-accentuated beats, clever, unexpected breaks, and highly dynamic fills. There are plenty of percussive acrobatics that keep the energy levels redlined and the listener completely engaged, yet the playing remains incredibly tasteful, always serving the needs of the song first and foremost. Catching Spiders exemplifies straightforward, honest, and highly effective songwriting. By stripping away all pretense and focusing purely on the core elements of bass, drums, guitar, and truthful lyricism, Ugly Criers have crafted an incredibly thrilling piece of art. If you are a true fan of punk rock that speaks directly to the struggles of real life while keeping your head nodding and your foot tapping, this CD is a must listen. It is simple, effective, and deeply resonant. Ugly Criers have delivered a phenomenal record that demands your full attention, proving that sometimes the most profound musical statements are made in a sweaty basement with just three instruments.
#LITTLEROCKETRECORDS #melodicPunkRock #MUSIC #PUNKROCK #REVIEWS #UGLYCRIERS
Las Vegas Punk Trio Crimson Riot Release Powerful Protest Anthem “State Of Despair”
Las Vegas punk rock trio Crimson Riot return with their most urgent and uncompromising single to date. “State Of Despair,” out February 20, is the second single from the band’s forthcoming full-length album Third Time’s A Charm, arriving March 20, 2026 via Leg Lamp Records.
https://youtu.be/mJUtPGDYHz4?si=PjxhN4insDBCMWYl
Blistering, confrontational, and fueled by conviction, “State Of Despair” finds Crimson Riot channeling frustration and clarity into a fast, melodic punk anthem that refuses to sit quietly in the face of rising division. The band initially planned the song as a later single, but current events pushed them to release it now — unapologetically and without compromise.
“This track was originally scheduled to be our fourth single off ‘Third Time’s A Charm,’ but with what is happening in the United States currently, we could not sit by and stay silent,” the band explains. “For years we’ve watched hate and division be celebrated, and citizens’ rights trampled by those creating that division. We have a voice and we choose to use it. This is no longer about left or right — it’s about morals.”
“Our message is clear: we are against sexism, bigotry, racism, and fascism. If you believe in any of these things, we are not the band for you. Real change starts when real people run for office and take power back from corporations. We choose to stand on the right side of history, even if it costs us fans.”
Formed in 2017 and famously dubbed the “Punk Rock Partridge Family” by iHeartRadio’s Bobby Bones, Crimson Riot is made up of guitarist/vocalist Roxy Gunn, bassist/vocalist Chris Reject, and drummer Ryan J — Roxy’s father. Though officially a Las Vegas band, the trio has been playing together for over 15 years, creating a chemistry that’s both tight and explosive.
“State Of Despair” continues the momentum building toward Third Time’s A Charm, Crimson Riot’s most focused and fully realized album to date. The twelve-song LP balances blistering, confrontational punk with more melodic and reflective moments, featuring guest appearances from members of Buck-O-Nine and Lo(u)ser. The record also marks the band’s first-ever vinyl release.
Their previous single “Cross The Line” received early airplay on Rodney Bingenheimer’s show on Little Steven’s Underground Garage and on 92.3 KOMP’s Homegrown Show in Las Vegas, while New Noise Magazine praised the band as “rip-roaring punk with a driving energy that demonstrates the band’s fiery passion and precise delivery.”
“‘Third Time’s A Charm’ is our appropriately named third album and probably some of our best work,” says Roxy Gunn. “We really dug into the recording process and focused on achieving a big, full sound without going over the top. This is the album that stands out. Third time’s a charm.”
Upcoming Shows
March 20, 2026 – Grey Witch – Henderson, NV – Album Release Show – 8PM – 21+
Spring Tour – TBA
Rise Against Launch Fan-Driven Community Initiative The A.R.T. Project (All Rise Together)
Photo by Mynxii WhiteChicago-based alternative punk rock band Rise Against announce the launch of The A.R.T. Project (All Rise Together), a fan-driven creative initiative celebrating community, collaboration, and expression in support of their tenth studio album, Ricochet, out now via Loma Vista.
At its core, The A.R.T. Project is about bringing people together through music and creativity during divided times. Built on Rise Against’s long-held belief that music is a collective experience, the initiative invites fans into the band’s creative process to celebrate the community that has grown alongside them for over 25 years.
The short-form, sit-down conversation with the band was filmed on-site during an immersive art activation in Los Angeles to kick off the campaign. On that day, Rise Against invited dozens of dedicated fans to help shape a new visual world for Ricochet by creating original posters to serve as the backdrop in their new music videos. As the band performed standout tracks off the album, fans were featured alongside them and their artwork that was inspired by the record’s lyrics, themes, and emotional urgency.
https://youtu.be/g7HzQ3bCcuE?si=uaYsW22mSOKU6SLP
Few bands have built a connection with their fan base as lasting as Rise Against. The band has remained a steady and unifying presence, creating music that resonates across generations and brings people together through shared emotion and experience. Rise Against have cultivated a body of work rooted in empathy, urgency, and connection, balancing intensity with melody while reflecting the world around them and the communities that listen.
With Ricochet, Rise Against delivers what may be their most visceral, urgent, and high-stakes body of work to date. The album received praise from the likes of Billboard, Clash, Classic Rock, Consequence, Dork, The Guardian, Line of Best Fit, Metal Hammer, Rolling Stone, Vice, and more for its immediacy and emotional weight.
The A.R.T. Project launch marks the beginning of a series of new music videos from Ricochet rolling out in the coming weeks, ahead of the band’s upcoming headlining spring tour. Rise Against will kick off their headlining North American Tour on March 3 in Providence, RI with special guest Destroy Boys. They will be bringing the band’s signature sound and socially conscious music to stages across North America, including Toronto, Montreal, Vancouver, Pittsburgh, Madison, Spokane, and more.
Most recently, members of Rise Against joined Tom Morello in the “Defend Minnesota” benefit that took place this month. Tim discusses the event with 93xhere and The Current here.
A full list of tour dates can be found below. Tickets are on-sale now and available at https://riseagainst.com/tour
#melodicPunkRock #MUSIC #NEWS #PUNKROCK #RISEAGAINST