The Great Lie delivers six fast and furious tracks on Songs for a Monday Morning, and there’s nothing sleepy about it. This EP hits hard right from the start and doesn’t let up. It’s pure, old-school hardcore with a smart edge.
The first song, "Fractured," kicks in with raw energy and lyrics about how everyone’s a little broken. Deep stuff packed into a minute and a half of chaos. "Rinse and Repeat" and "Another Way" keep the energy high and the anger real. Every song is tight, focused, and just rough enough to feel alive.
"Head Low" shows a slightly more thoughtful side, while "Lay Down" is quick and intense, like a musical punch to the gut. The closer, "Critical Thinking," leaves you thinking, not just headbanging.
The production keeps things sharp without cleaning it up too much. It still feels raw, which fits the vibe perfectly. If you’re into hardcore that’s real, loud, and doesn’t waste your time, this one’s worth the short but solid ride.
If you're into rock that's loud, gritty, and unapologetic, Damn You All to Hell is right up your alley. The Chris Rolling Squad throws down 15 tracks of no-nonsense rock 'n' roll that mixes punk speed, hard rock attitude, and a dirty garage sound.
It opens with "Pendejos 666," a short, chaotic blast that sets the tone. The title track and “Loaded Gun” bring fast riffs, catchy choruses, and serious swagger. "Blind (So Fucking Blind)" and "Headshot 1st" keep the speed and rawness going strong.
“Cannonball Holocaust” is back from a previous release, and it still rips just as hard. The album wraps up with "F-world Song," which sums up the band’s ‘no rules, no filters’ attitude.
This record doesn’t try to be fancy, it just rocks hard. Fans of Motörhead, The Hellacopters, or anything loud and fast will feel right at home here. It’s a wild ride from start to finish, and it doesn’t ask for permission.
Earl of Hell’s debut full-length is heavy, dark, and drenched in attitude. The Scottish five-piece brings a mix of stoner rock, punk, and metal that sounds like it crawled out of the underworld—and that’s a good thing.
“Satan Is Real” starts the album with a punch, and the intensity stays high through “The Infernal Dream” and “Impaler.” The guitars are thick, the vocals are gritty, and the mood is straight-up sinister. There’s melody buried in the chaos, but it never loses its edge.
Tracks like “Calling, Is The Crow” and “Macabra Cadabra” get a little weirder and moodier, adding some creepy atmosphere. “Waiting to Die” and “Bloodlines” close things out in dark, doom-soaked style.
The production is solid, it’s rough enough to keep the energy raw, but clear enough to hear every heavy hit. Fans of bands like Red Fang, Electric Wizard, or early Mastodon will find plenty to like here.
This debut proves Earl of Hell knows exactly who they are, and they’re not afraid to turn up the volume and drag you down with them.
