Chiodos was always more than a single moment or scene. At its center is frontman Craig Owens, whose singular voice and confessional fire turn chaos into catharsis. Owens cofounded Chiodos in 2001, naming it after the Chiodo Brothers, the cult minds behind Killer Klowns from Outer Space, and built a movement defined by an adventurous, rule-breaking spirit.

The band's 2005 debut All's Well That Ends Well captured lightning in a bottle, and 2007's Bone Palace Ballet debuted at No. 1 on the Rock chart and No. 5 on the Billboard 200. After a 2015 hiatus, an invitation to play When We Were Young 2024 reignited everything , sold-out tours, a packed Hollywood Palladium, and a surge of intergenerational fans singing every word. In 2025, Owens re-recorded All's Well That Ends Well in full for its 20th Anniversary.

Now Chiodos turns the page. "TAPDAT," produced by Keith Sorrells and released via SharpTone Records, is the band's first new original music in over a decade, proof that, nearly 25 years in, Chiodos is bigger than it's ever been.

Anybody familiar with Hail The Sun will know there’s always a great deal of meaning beneath the surface. Theirs are songs that probe the very nature of existence, that strive to find the answers to the fundamental questions that being human raises, and that don’t flinch away from any form of self-reflection whatsoever. That’s been the case since the band—lead vocalist Donovan Melero, guitarists Shane Gann and Aric Garcia, bassist John Stirrat and drummer Allen Casillas—formed in Chico, CA in 2009, but which is especially the case on cut. turn. fade. back., their seventh full-length. Indeed, even for a band whose album titles veer between being suggestive of something more and existentially profound, this record truly goes the distance, encompassing the complete cycle of life with its four monosyllabic words.

“The album touches on a lot of topics such as military atrocities, humanitarian crises, addiction and love being lost, as well as death,” says Garcia. “So many of those things are recurring, and as much as we'd like for things to change and be better and live in a perfect world, it's more that things seem to get better for a little bit and then take a turn—and before we know it, we're right back where we started.”

For the first time in their career, Hail The Sun worked with production outfit Beach Noise, whose experience is much more steeped in the hip-hop world—most notably, they worked on a good chunk of Kendrick Lamar’s acclaimed 2022 album.

Forged in the fires of the underground and bound by a blood-oath to sonic perfection, this six-headed behemoth emerged from the mist to claim the throne. Whether classified as emo/screamo/post-hardcore or rock-n-roll, this monster knows how to serenade their fans in just the right way, lulling them to sleep with the purest of melodies then suddenly filling them with fear amongst the heaviest of breakdowns. How doth both powers exist in one entity, you ask? It just doth. Each member brings a unique relic of power, thunderous percussion, arcane synth work, bottomless bass and twin axe shredding to form an unbreakable fellowship. With legendary dual vocals and gut-wrenching screams that frighten even the most viscous beasts in the scene, Emery doesn’t just play sets, they embark on musical crusades, conquering every stage from the darkest taverns to the highest festival peaks. Some say the prophecy has been fulfilled and the age of silence is over! All hail the Masters Of Rock!!!

Evergreen Terrace is a five-piece American metalcore band from Jacksonville, Florida. Formed in 1999, they are named after the fictional street from The Simpsons. The band is known for their unique blend of metalcore, melodic hardcore, and punk rock, which has earned them a dedicated following among fans of all three genres. Their early releases, including "Losing All Hope Is Freedom" (2001) and "Burned Alive by Time" (2002), garnered attention within the underground hardcore community, earning them a dedicated fan base. However, it was their breakthrough album "Sincerity Is an Easy Disguise in This Business" (2005) that propelled them to wider recognition. With subsequent albums such as "Wolfbiker" (2007) and "Almost Home" (2009), Evergreen Terrace continued to evolve their sound while staying true to their roots. Tracks like "Chaney Can't Quite Riff Like Helmet's Page Hamilton" and "Enemy Sex" showcased the band's ability to blend aggression with melody, earning them critical acclaim and further cementing their place in the hardcore scene. Throughout their career, Evergreen Terrace toured relentlessly, sharing the stage with notable acts such as Hatebreed, As I Lay Dying, August Burns Red, and Unearth.