Back catalogue:

Review: Still going strong since their 2016 reformation, even dropping their latest full-length Destination Dusseldorf in 2023, Dunfermline's sons Skids originally formed in 1977. Within six months of their inception, the band had dropped the Charles EP which would lead them to the attention of legendary BBC radio DJ John Peel, with whom they would record five separate sessions over the next two years while working on their first three LPs released during that period - Scared To Dance (1979), Days In Europa (1979) and The Absolute Game (1980). This 2xLP collection collates all of these sessions and boasts choice from some of the aforementioned albums such as 'Six Times', 'Masquerade', and the highly popularised once covered by U2 and Green Day 'The Saints Are Coming', while also offering never officially released cuts like 'Hang On To The Shadows' as well as their frenetic cover of Lou Reed's 'Walk On The Wild Side'.

Review: Originally formed in London in 1976, The Slits made major waves with the frenetic post-punk energy of their acclaimed 1979 debut LP Cut, whilst their 1981 sophomore follow up (aka "difficult second album") Return of the Giant Slits would arrive mere months before the group's initial disbandment. Highlighting the internal creative differences occurring at the time of recording, the material showcases a major expansion of sound, pulling from rhythmic afro-pop and dub, conjuring a unique "world music" approach to post-punk before the likes of Vampire Weekend were even a twinkle in their father's eyes. The album would also serve as their last output until their return with the 2006 Revenge of the Killer Slits EP followed by 2009's third full-length Trapped Animal.

Review: Drunkenly steamrolling their way out of Indianapolis, Indiana in 1984, punk shithead extraordinaries Sloppy Seconds committed themselves to their "junk rock band" ethos with a bevvy of chaotic, catchy, and most importantly provocative bangers that made light of everything from pornography to homophobia to obesity to drug addiction. Musically indebted to The Ramones (only if they mainlined crack into their eyeballs), and bizarrely inspired by 1976's KISS album Destroyer, the members would begin crafting what would eventually mutate into 1989's Destroyed with zero label interest or backing. That was until Toxic Shock (yes, that is the name of the original label) feasted their ears on some early demos before decreeing that the entire worldwide punk community needed to be this offended. Boasting snarky anthems that have aged like old milk such as the quintessential 'I Don't Wanna Be A Homosexual', as well as the ode to underage pornographic actress Traci Lords on 'Come Back, Traci', few punk classics set the bar as low as Sloppy Seconds, and ain't that the point?

Review: Southern Californian punk legends Social Distortion dropped their vital debut album Mommy's Little Monster four whole decades ago now. To mark the anniversary it is getting a special 40th edition reissue and has been freshly mastered from the original analogue tapes and pressed up to 180-gram vinyl for the occasion. The nine songs that were on the original release of the album all feature such as the much loved title track 'Mommy's Little Monster' and single 'Another State of Mind'. Proper original punk business from the US greats.

Review: Live set recording is an underrated art. It's about capturing the feel of the room as much as it is about showcasing a band's live prowess. Thankfully, punk godfathers Social Distortion appear to realise this and have nailed it with their live acoustic recordings. The band are known for their signature sound of punk, bluesy rock n' roll and outlaw country and the acoustic versions give the band a chance to highlight their versatility, ramp up the country/folk side and gives singer Mike Ness the spotlight. Swapping out the thrashy power chords for something janglier and jollier, their Johnny Cash cover 'Ring Of Fire' is pure joy. 'Cold Feelings' features a terrific counter melody from the accordion and the overall atmosphere of the song makes it easy to feel transported to a ye olde tavern somewhere in Ireland, sat around a table with a roaring fire, with the wind blowing outside. Elsewhere, 'Down Here With The Rest Of Us' is Social Distortion at their emotionally charged best. Remarkable here is the restraint shown by a band who usually just let rip. You'd be forgiven for thinking they weren't full-time into this acoustic thing.

Review: Tim Barnes, Marco Fusinato, Aaron Hemphill, Brad Laner, Katsura Mouri, Ralf Wehowsky, and C Spencer Yeh are drafted to collaborate with Sissy Spacek for this new outing from the Los Angeles experimental outfit. Now 26 years young, the group originally emerged from the very anti-Tinsel Town sounding noise and grindcore scene in Southern California, but to say that was just the beginning of their journey would be an understatement. Quite where we've ended up now is anyone's guess, mind. Entrance seems to be a noisy place that has little by way of structure but plenty in terms of ideas. Concerned with at least some of musique concrete's principles, one of the best ways to describe what's here is by asking what's not here. This is the sound of a loud world full of clangs, bangs, whirs, bolts, brittles, emotions and fantastical masterplans. A place that's about the atmosphere and feeling, rather than the tune.

Review: .Sydney based Aussie pop-punks Stand Atlantic return with their follow up to 2022's F.E.A.R. in the form of fourth full-length Was Here. Embracing the "pop" side of their subgenre signifier more than ever before, the material on display strays further from the Hopeless Records alumni Blink-182/New Found Glory worship and careens headlong into synth-laden euphoric arena-level pop-rock, with several features from the likes of PVRIS, Sueco, and Polaris. Still one foot firmly planted in their punk origins but with eyes set on a grandiose, maximalised versions of themselves, the "Stand Atlantic Was Here" mantra feels entirely apt and fitting.

Review: Formed in Santa Rosa, California in 2010, State Faults grown to become underground heroes in their respective scenes due to their seamless coalescing of anguished sonics to paint an aural image of panic. Marrying the chaotic abandon of screamo and post-hardcore with elements of black metal, shoegaze, post-rock and ambient, their cathartic wall-of-sound feels initially oppressive before eventually enshrouding like a blanket of overwhelming emotion. Returning five years on from 2019's Clairvoyant, the band's fourth full-length Children Of The Moon seeks to eclipse each preceding endeavour with a grandiose collection of avant-hardcore post-screamo that searches to quell the pain of love, grief and existence through spiritual enlightenment, both transcendental and occult..

Review: The culmination of a trilogy of releases that began in earnest mid-pandemic in 2020 with their debut full-length Age Of Exile and subsequent 2022 sophomore effort SOS, New York based post-punk duo Straw Man Army deliver the ultimate threequel with their neo-dystopian Krautrock-indebted head-melting Earthworks. Frenetic yet robotic guitar lines weave around motoric drum fills with an alien precision offset by Fugazi-style shouted vocals, fusing elements of post-hardcore, jazz and post-rock, while lyrically continuing to espouse disheartening concern-turned-malaise that touches on everything from America's colonial history to its future as a divided, fascistic wasteland, literally posing the question on standout cut 'Spiral' - "Is this all that's left for us these days? Apathy and rage?" whereas we're essentially told on the jittering 'Look Alive' how "America will never last." New school anarcho-punk serving as the soundtrack to our end times for literally anyone with a conscience who reads the news and has a semblance of what's going on.

Review: Following two sold out farewell shows at the Scotiabank Arena in their hometown of Toronto at the end of January 2025, Canadian early 2000s pop punk megastars Sum 41 have bowed out gracefully upon their own terms. With that sombre farewell in mind, what better time to repress and revisit their surprisingly dynamic back catalogue of records, including 2007's much underrated Underclass Hero? Their fourth full-length (or possibly fifth, as many fans still often debate whether 2000's Half Hour Of Power can be considered their debut album) marked the first of two consecutive projects without founding lead guitarist Dave "Brownsound" Baksh, who would amicably depart to focus solely on his Brown Brigade solo-work. Following up the thrash-metal indebted mature left turn that was 2004's Chuck, which truly began to take shape on 2002's snarling The Offspring-worshipping grunge-punk career height Does This Look Infected?; losing their highly skilled axeman known for his juxtaposition of face-melting guitar solos next to anthemic hooks, led to somewhat of a revert to the more familiar pop-punk joviality of their earlier work, yet bolstered by more seasoned songwriting chops. Utilising an extensive array of acoustic guitars, synthesisers and a more expansive sonic scope to make up for their whittled down line up, the material has often been compared to that of Green Day's high-concept theatrical opus American Idiot or My Chemical Romance's even bolder The Black Parade. At a hefty (by punk standards) 52 minutes, this was the band's lengthiest LP to date, boasting some of their most dynamic and heartfelt cuts such as the triumphant opening title-track as well as the emo-tinged skate-punk longtime fan favourite 'Walking Disaster', culminating in a (now) near two-decade old pop punk rock opera. A bold swing for the fences in search of new direction, the Underclass Hero deserves your sincere reappraisal.

Review: Originally released in 2004 and celebrating its 20th anniversary, Where You Want To Be would serve as the sophomore full-length from Amityville, New York emo/pop-punk icons in the making Taking Back Sunday. Following the rapid success of their 2002 debut LP Tell All Your Friends, John Nolan and bassist Shaun Cooper would leave the group to form Straylight Run (though they would eventually return) and be replaced by Fred Mascherino and Matt Rubano, respectively, with the pair utilising their jazz school background to help the band tighten up compositionally and attain their sought-after elevation. Working with former Husker Du soundman and producer Lou Giordano (The Goo Goo Dolls, Sunny Day Real Estate), pushed the members to embrace additional instrumentation, emblematic on the string-guided ballad 'New American Classic' while lead single 'A Decade Under The Influence' remains one of their signature cuts to this day. Retaining the gritty post-hardcore bite of their debut yet already discovering their burgeoning mainstream appeal which would take full flight on 2006's breakout album Louder Now, the legacy of the aptly titled Where You Want To Be is one of a poignant bridging point between two equally vital eras for the band.

Review: 1994. So much to answer for. Shallow Grave and Natural Born Killers at the cinema, chart-friendly hardcore pop punk in the charts. And Ten Foot Pole attempting to balance incessant touring of sk8r boi venues with the baseball career of frontman Scott Radinsky. Suffice to say, something had to give, and in the end Rev, the band's second album, would prove to be the last with his vocals. As fans will confess, attempting to keep up with lineup changes in the Pole has never been easy - Wikipedia lists 19 past and four current members on the group's page. Flux infinitum aside, listening back to the sophomore LP 30 years on and it's hard to deny there's a feeling of raw, unfettered heyday here. An outfit sounding as God, or at least the spirit of baggy jeaned and ollie-busting guitar tunes, intended them to.

Review: Renowned for his seminal work with acts such as The Moody Boys, 400 Blows, and The KLF, the incomparable Tony Thorpe compiles this astutely curated, meticulous collection of 16 rare and sought-after post-punk era cuts that the maestro would regularly spin at parties, making them his personal pile of niche gems. Featuring tracks from Public Image Ltd, Mark Stewart and The Maffia, Basement 5, 23 Skidoo, and African Headcharge, to name but a small handful, Post Punk Theory arrives spread out across 2xLP and includes a 40-page fanzine booklet written by Matt Annis with photographs by Simon Pyke and Ian Brodie. A unadulterated true post-punk time capsule for both lifers and studious newcomers alike.

Review: Ignore Heroes is an original motion picture soundtrack by American punk rock band TSOL. The movie tells the tale of an inception and then the 1983 destruction and the reformation of the band itself, the music interspersed with plenty of spoken word segments that flesh out the background details and have been taken from interviews with the members of the band who lived through the mad period in the history of the Californian punk scene. The soundtrack was composed by Greg Kuehn and it also comes with his piano interpretations of their classic tunes.

Review: Though much of the devout U.K. Subs fanbase will insist that the band's debut full-length Another Kind Of Blues is the begin and end-all of the pub-rockers turned punk icons seminal offerings to the punkosphere, both their legendary frontman Charlie Harper and guitarist Nicky Garratt have previously stated that they believe their fifth LP Endangered Species is their crowning achievement. With lyrical cynicism showcasing Harper's razor sharp wit and riffage that simultaneously reflects the burgeoning hardcore scene forming across the Atlantic in 1982 (an era that saw the first batch of albums from future legends such as Black Flag, Negative Approach and Circle Jerks) whilst furthering their own brand of homegrown rock-centric punk into frenetic new directions, the work was severely ahead of its time with regards to where punk was at and where it was heading, with bangers such as the title-track or sarcastic 'Down On The Farm' still going as hard today as they did over four decades years ago.

Review: Often unfairly forgotten in the pantheon of alphabetical A to Z records from homegrown punk legends UK Subs, Flood Of Lies would arrive in 1983 on the heels of Endangered Species and mark both a shift in line up as well as a creative change of course. Enlisting early Subs bassist Steve Slack, drummer Steve Jones and guitarist Captain Scarlet, this new stable would help incomparable punk lifer and legendary frontman Charlie Harper to strike a balance between remaining faithful to their core punk ethos whilst experimenting with more accessible mid-tempo tracks recalling their early pub rock days yet far more refined. Forget what any middling review or closed minded fanboy said four decades ago, corner any tried and tested Subs devotee and they'll sing the praises of Flood Of Lies for days.

Review: Although the common consensus amongst the fateful UK Subs fanbase regards London's own pub-rockers turned punk heroes' classic debut LP Another Kind Of Blues as the high watermark of their output, many devout listener as well as both founding vocalist Charlie Harper and guitarist Nicky Garratt will counter-argue that the band's explosive fifth album Endangered Species (1982) is their strongest work. Complete with razor sharp cynical, lyrical insights and chunky riffage not dissimilar to the burgeoning hardcore scene formulating in tandem in early 80s USA, the material saw the Subs pushing their own form of classic rock-oriented punk into aggressive, surprising new directions, being both sonically emblematic of where the punk scene was at this time and where the future was beckoning towards, while bangers such as the title-track and the humorously sardonic 'Down On The Farm' still go as hard today as they did over four decades prior.

Review: While many a devout U.K. Subs fanatic will lay claim that the pub-rockers turned punk legends' seminal debut full-length Another Kind Of Blues is and shall always be the band's most vital contribution to the punk maelstrom, both legendary founding vocalist Charlie Harper and guitarist Nicky Garratt consider their fifth album Endangered Species to be their finest work. Boasting razor sharp lyrical cynicism and riffs simultaneously reflective of the burgeoning hardcore scene taking shape across the pond in 1982 (which saw the first slew of albums from future icons such as Black Flag, Circle Jerks and Descendents) while also pushing their own form of homegrown rock-oriented punk into aggressive new directions, the material was majorly ahead of its time in regards to where the punk scene was and where it was headed, with gems such as the title-track and sardonic 'Down On The Farm' still going as hard as they did 40 years ago. A true testament to the underrated staying power of one of the homegrown greats of first wave punk..

Review: Having recently been refused entry into the US due to their staunch anti-Trump stance, London's own pub rock turned homegrown punk icons UK Subs shall reissue their criminally underrated Japan Today for Record Store Day 2025. Originally released in 1987 and ranked letter J in the Subs' A-Z album list, this LP has been out of print for the past decade and finally returns home to wax for both longtime fans who've worn their original pressing down to PVC scraps and late to the party newcomers doing their most studious punk homework. Remastered with updated artwork, featuring both Knox and Daryl Barth wielding a double-guitar assault, the record boasts some of the band's most overlooked gems such as 'Another Cuba' and 'Thunderbird Wine'.

Review: A box office flop at the time of its release in 1995 - only recouping around $6million of its $25million budget - Tank Girl has since become a cult classic of the post-apocalyptic science fiction canon. Popularised thanks to its strong feminist messages and vivid construction of a universe, the foundations of which were found in a comic book series of the same namer, the soundtrack is both of its time and every bit as high impact as the flick. From Bjork's moody and abrasive 'Army of Me', to the disrupted lo-fi rock & roll of Hole's 'Drown Soda', Ice T's typically snarling and sinister 'Big Gun', and the trip hop landmark 'Roads' by Portishead, the credits read like a who's who of 1990s cool. And this emphasises just how on point Tank Girl was, even if we didn't all seem ready to acknowledge it back then.

Review: Secret Superstar Sounds, courtesy of Soul Jazz, offers an eclectic and excellent collection of oddball punk and powerpop rare cuts from little-known bands from the late 70s, including but not limited to The Squares, The Meanies, The Monitors, Plummet Airline, and Krypton Tunes. Falling between the cracks of punk, new wave and post-punk, these unfairly overlooked and forgotten to time gems came from a slew of DIY ethos purists inspired by the messaging of bands like The Desperate Bicycles, Sniffing Glue fanzine and early UK punk labels like Stiff, Chiswick and Rough Trade, recording everything in-house, then sending their recordings to the likes of John Peel and labels with hopes of some airplay or recognition, little of which came. A long-lost micro-genre of unfairly forgotten underground punk (but not punk) gems awaits.

Review: Out of print for over 15 years, the Soul Jazz distributed Do It Yourself compilation offers up a bevy of both essential and niche acts from the realms of punk, post-punk, punk-funk, dance-punk and even further afield electronic experimentations where the term "punk" becomes utterly redundant. All UK artists recorded between the late 70s and 80s, the collection sonically details the aftermath of the British punk movement in real time, complete with legacy names such as Buzzcocks, A Certain Ratio and The Last Gang to Red Lorry Yellow Lorry and even Throbbing Gristle. Housed in a gatefold sleeve and spread across translucent orange vinyl 2xLP, the collection has been fully remastered and features extensive sleevenotes and photography as well as interviews with key behind-the-scene players, providing a unique insight into just how much the landscape of independent music changed after the advent of punk.

Review: Many months on, Record Store Day Black Friday 2023 continues to serve up treasures and the latest is
VIRULENCE's If This Isn't A Dream album. It's a wild ride through atmospheric soundscapes and haunting melodies that immerse you in a dreamscape of ethereal textures and pulsating rhythms, blending elements of ambient, electronic, and experimental music. Each track unfolds like a surreal exploration of the subconscious, inviting introspection and contemplation with intricate layering of synths, evocative vocals, and intricate percussion. Both hypnotic and transcendent, If This Isn't A Dream is a captivating trip that is well worth hearing for fans and newcomers alike as it transports to a realm where reality blurs with imagination.

Review: Glasgow post-punk underdog heroes, The Wake, arguably never achieved nor received the success they were due with their excellent gloomy, shivering early work. Often unfairly compared to Joy Division, which only got worse upon their touring with New Order who were their labelmates at the time; it only feels like now, four decades removed from the release of their seminal debut, 'Harmony', that naysayers have learned to appreciate the work for what a cornerstone of the genre it truly was. The, 'Harmony & Singles', compilation has been reissued on Factory Benelux, then bounced to LTM then right back to Factory again, and here, we arrive at yet another reissue, commemorating a somehow criminally underrated staple of post-punk history, one decade shy of a half-century ago. Post-punk is pushing on...

Review: Originally released in 2004 and celebrating its 20th anniversary, War Is Hell was the debut full-length from Californian hardcore punk upstarts turned underground heroes The Warriors. Drawing on the groovy yet snarling style of Snapcase and Rage Against The Machine, the success of this release would see them added to bills touring with scene legends such as Comeback Kid, Terror, Sick Of It All and Parkway Drive, with vocalist Marshall Lichtenwaldt even guest featuring on the latter's track 'Hollow' from their Don't Close Your Eyes EP and later re-recorded for 2010's Deep Blue. Namedropped by melodic hardcore peers Set Your Goals on the anthemic 'Summer Jam' while their own cut from this record 'Slings & Arrows' would be covered by metallic hardcore giants in the making Knocked Loose on their 2019 Mistakes Like Fractures EP, The Warriors are a hardcore band's hardcore band with this long overdue repress marking the first since 2005 and is limited to only 100 copies.

Review: Manchester based, all girl, self-proclaimed doom-grunge outfit, Witch Fever, are set to finally drop their debut full-length, 'Congregation', this October (right in time for Halloween). Built around thundering riffs, sultry, twisted atmospherics and an incomparable wall of sound style trudge, evoking the ethereal post-punk of Warpaint by way of Soundgarden, the project is already hotly tipped to be one of the breakout releases of 2022. Frontwoman Amy Walpole's cavernous, shrill vocals are as haunting as they are lush, while the cryptic, horror-inspired lyrics and utterly massive production promise one of the most vital, dynamic, and unaccommodating debuts from the grunge, punk, or alternative rock spectrums, this decade has proverbed thus far.

Review: There are sub genre labels, and then there are sub genre labels. Then there's crust punk and stenchcore. Terms used to describe some pretty serious sounds, think classic English punk combined with extreme and thrash metal. Then prepare for the air raid as you hit play on Wolfbrigade's eighth full length album and their first of the current decade. Clearly influenced by groups ranging from the full-steam-forward juggernaut of Motorhead, to the experimental and highly politicised sample-happy Napalm Death, this latest effort is about fury, rage, agony, determination and a clear resolution not to go quietly into that good night. Or, to put all that another way, Life Knife Death kicks with the force of a roundhouse, then leaps on the injured body to begin devouring it, mind, body and soul.

Review: Following on from the 2022 career-height of their seminal fourth full-length Hiss, Singapore grindcore heroes Wormrot return with a rare slice of fan service in the form of the Left To Rot 12". Compiling several of their previously never-pressed-to-vinyl early releases such as their 2007 Demo, 2008's 'Dead' EP, as well as their 2008 split tape with Greece's Diseptic and even some newly re-recorded cuts, the total damage clocks in at 34 tracks of venomous, vicious, vitally unhinged grindcore of the most scabrous variety, designed to emboldened only those with the most calloused and familiar of ears whilst alienating every other would be passerby listener in existence. Get in.

Review: Following on from 2020's exceptional return to form Alphabetland, which saw the first full-length from Los Angeles punk pioneers X in 27 years (35 years with the OG line up), the incomparable four-piece of Exene Cervenka, Billy Zoom, John Doe and DJ Bonebrake finally get to go out on their own terms with the self-proclaimed swan song LP Smoke & Fiction. Between line up changes, differing visions, commercial flops and radio-baiting sonic shifts, the band's tumultuous 90's era would cause many a hiatus and add further blemishes to their early iconic catalogue, ultimately leading to an unsatisfactory conclusion to their life's work that they've managed to reclaim in a manner not many seasoned veterans ever get the chance. Ten bangers infused with their quintessential rockabilly-punk charm and elevated by Cervenka's still ludicrously intense cadence, with a coinciding farewell tour to come, this is the finale for X the band and we dear listeners have always deserved.

Review: One fateful night on September 6, 2008, London's Camden Roundhouse played host to the iconic punk rock/new wave legends X Ray Spex in all of their frenetic glory. Celebrating the 30-year anniversary of their singular classic album Germfree Adolescents, the sold-out show amassed an immensely fortunate 3000 souls in attendance including The Slits bassist Tessa Pollitt, Chrissy Boy of Madness and Eater drummer Dee Generate. With the untimely, tragic passing of punk pioneer frontwoman Poly Styrene in 2011, the show has gone on to become the stuff of London punk mythology, as history proports her beret-sporting swagger was on top form across the evening. Sleeve notes included by Celeste Bell, Pole Styrene's daughter, who also features on the encore of 'Oh Bondage Up Yours!', adding further weight and insight to an already iconic piece of musical history.

Review: English band XTC served up White Music, their debut album, in 1978 having already impressed three months earlier with their debut EP. The album had modest chart success, making number 38 i the charts, and spaced the infamous single 'Statue of Liberty' which the BBC promptly banned on account of the line 'In my fantasy I sail beneath your skirt. It sure seems tame by modern standards but it helped gain the band more notoriety for their hyperactive post-punk sounds. While one reviewer at the time said the album was "aimed at bored Yes fans" it was a fine and hard to define debut that set the band in good stead.

Review: RECOMMENDED
The thing everyone needs to understand about the UK is the disparity between projected image and real life is almost as overwhelming as the rich-poor divide. On the one hand, there's posturing of pomp, pageantry, grandeur and decorum. Then you actually get here and realise there are really only two types of inhabitants of this island nation, and few of either have manners - those who only give a shit about themselves, and the often eccentric others who do want to help those they pass on the street.

Yard Act, arguably the best thing we've heard to come out of Leeds since the emergence of super-talented techno producer Happa, directly address the first category of British resident in this, their startlingly raw and delightfully off-centre debut album. From middle class trendies to Brexiteering belligerents, think Sleaford Mods providing a backing track to IDLES' observational poetry, with an added dose of Jarvis Cocker-esque theatrics, only less camp, much rawer.

Review: Based in New York City, YHWH Nailgun (pronounced "Yahweh") are a newfound experimental noise-rock four-piece who have varied acceptance on what can be deemed "noise". Built around the ludicrous percussive ability of drummer Sam Pickard whose use of rototoms conjures an organic yet mechanistic pulse, warped and compressed guitars collide with an array of synths and electronic elements all infused with the suffocated, ranting, rambling, unhinged shrieking of vocalist Zack Borzone. Their debut full-length 45 Pounds bubbles with a similar art-noise sass-punk quality to very early HEALTH (before they rebooted as the industrial-metal trio they're known as today) yet attempting to still fit in with the likes of The Jesus Lizard or Chat Pile. They don't whatsoever, and they're all the better for it, as these unhinged 21 minutes condense saccharine, bubblegum machinery into some of the most frenetic compositions recorded all year. Just because it can only be described as "noise-rock" doesn't mean it necessarily sounds like noise-rock.