No Resurrection for This: DemsFightinWords - Bury Both (Track Review) Released: 10/3/25

“Bury Both” doesn’t creep in; it lurks, carrying that cold Chicago Nu‑Beatdown energy that feels like a confrontation you’ve been avoiding. Scott McGinnis, Austin Allen, Nathaniel Scott, Dylan Greenhill, and Santana Salazar move as a unit here, pushing a sound that’s less about theatrics and more about raw intent. The track hits with that familiar Midwest weight: blunt, unfiltered, and emotionally charged. Every line feels like it’s coming from someone who’s finally done carrying what isn’t theirs anymore. As the song unfolds, the vocal delivery becomes the centerpiece of the tension. There’s a back‑and‑forth edge to it, not just two voices, but two versions of the same person calling each other out. It gives the track a psychological bite, the sense that you’re listening in on an internal reckoning rather than a performance. The pacing stays tight and hostile, never giving the listener a chance to settle, mirroring the emotional volatility at the heart of the lyrics.

What makes“Bury Both” hit harder is how grounded it feels. There’s no gloss, no attempt to soften the blow. The band leans into the ugliness of letting go: the resentment, the exhaustion, the clarity that comes only after you’ve hit your limit. By the time the track reaches its final moments, it feels less like a song ending and more like a door slamming shut on something that needed to die. “Bury Both” stands as a sharp, unflinching statement that is heavy in sound, heavier in intent. It’s the kind of track that doesn’t just vent frustration; it buries it, marks the grave, and walks away without looking back. A strong, gritty showing from Chicago’s Nu‑Beatdown scene, and a reminder of why DemsFightinWords hit as hard as they do.

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Kentucky's Heavy Secret: Stormtoker - These Edibles Ain't Shit (EP Review) Released: 12/5/25

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There's something refreshingly unpretentious about calling your debut EP The First Four Songs . No cryptic title, no elaborate concept, no attempt to manufacture mystique out of thin air. Just Steev Custer, a guitarist with more than thirty years of Chicago scene credibility behind him, putting his work in front of you and letting it speak for itself. In an era when even the smallest releases arrive wrapped in press releases thick with buzzwords and carefully curated influences, that kind of directness feels almost radical. Custer is not a new name to anyone who's paid attention to the Chicago punk and rock underground, and his fingerprints are all over the city's musical history with names such as Death and Memphis, The Bomb, and My Big Beautiful. It's a lengthy résumé that spans post-punk, power pop, and everything in between, but these are bands built on the premise that a great song is worth more than a great concept, and that ethos carries directly into SMFC, his...

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There's something genuinely impressive about a two-piece act that can conjure a wall of sound dense enough to feel like a full band assault, and that's exactly what Marinette, Wisconsin's Heliophilia accomplishes on "Fire, Borne of the Sky." Comprised of Michael Vandermuse and Kyle Bush, this underground metal duo has crafted a track that blends deathcore brutality, black metal atmosphere, and dark fantasy storytelling into something that feels far bigger than its two-person lineup would suggest. From the outset, "Fire, Borne of the Sky" makes clear that this isn't going to be a conventional metal track. It opens with an eerie, synth-driven low-frequency atmosphere that immediately sets a tone of dread before the track explodes into cavernous, down-tuned guitar riffs and crushing drum work. That contrast between quiet menace and overwhelming heaviness becomes the song's defining structural choice, and it's one that Heliophilia leans into ...

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