Active on the live circuit since Halloween 2017, Runhidefight is a relatively new band fronted by Geeta Simons (formerly of Swisher). They’ve been championed by Rodney Bigenheimer and Sirius XM radio, been likened to Cheap Trick and The Sonics and they’re about to play live on the same bill as Justine and The Unclean.
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BECOMING THE LION – Ghosts Of A Fallen Solder 2018
Becoming The Lion was originally conceived as an instrumental vehicle for one man’s musical talents. That man, Ross Blomgren self-released ‘Ghosts of a Fallen Soldier’ in 2010. A recording which explored various post-rock and alternative-based moods, it showed off some great musical ideas, despite a few elements that gave away its low budget origins. Most of the music veered towards a solid post-rock sound, but an over-reliance on drum programming and droning keys, in the main, meant things didn’t always turn out quite as well as they could have. Over the next few years, Blomgren released further albums, often opting for a more metal oriented sound and sometimes aiming his music at more of a progressive metal loving audience; each one a step further towards the great record that Blomgren was so clearly capable of making.
Listen: Watts return with new single ‘Breaking Glass’
In October 2018, Boston rockers Watts returned with a new digital single ‘Queens’, a blast of guitar-driven goodness that added another piece of retro trashiness to their expanding legacy.
Moving into the new year, they’ve kick started 2019 by sharing another new track.
DEBT NEGLECTOR – The Kids Are Pissed EP
Orlando four piece Debt Neglector’s 2018 EP ‘The Kids Are Pissed’ constantly treads a very fine line between angst and melody to bring six tracks that are often as big on chorus hooks as they are on riffs. For those who still lament No Use For A Name’s shift into a poppier realm (and subsequently their untimely demise), or love Hateful Monday, this is a must-hear.
VINNY AND THE HOOLIGANS – Don’t Give Up
Vinny and The Hooligans’ 2016 EP ‘Late Nights’ was a reasonably enjoyable punk release that drew influence from the more accessible end of hardcore, Good Riddance and Screeching Weasel at their most tuneful. The recording was a little rough around the edges and Vinny’s vocal wasn’t necessarily the most perfect, but the charm in the songs often shone through. Two years on and with a bigger budget, ‘Don’t Give Up’ – a pointed message for so many DIY punk bands – is an improvement on almost every level. Stretching Vinny’s talents to a full release and a bigger sound, its ten songs cover a variety of punk styles, but whatever the outcome, it’s a record packed with big hooks and a lot of love for New York.