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Ride the Flatline (feat. Jami Morgan & Code Orange) (2024)
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Evidence (2023)
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Agamemnon (2025)
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60 bands found
Against All Authority formed in Miami in 1992 and became a defining political ska-punk band by pairing fast punk with brass-driven urgency and a strict anti-authoritarian stance. Their early work, including Destroy What Destroys You and All Fall Down, established a raw do-it-yourself identity rooted in leftist politics, anti-racism, and working-class anger. 24 Hour Roadside Resistance, Nothing New for Trash Like You, and The Restoration of Chaos & Order expanded the band's reach while keeping songs fast, direct, and confrontational. Against All Authority fit punk scope directly through ska punk, hardcore punk, and a history tied to independent touring and activist-minded scenes. Their music is often catchy, but it rarely feels relaxed; horns cut through distorted guitars, bass lines move quickly, and the vocals push every grievance forward with impatience. The band's best songs turn slogans into kinetic arrangements rather than empty posture. They belong to the lineage where punk is not just a sound but a refusal to accept police power, racism, war, and complacency as normal.
New York hardcore legends Agnostic Front have been the beating heart of the NYHC scene since forming in Manhattan's Lower East Side in 1980. Vocalist Roger Miret and guitarist Vinnie Stigma built a legacy through essential records like 'Victim in Pain' and 'Cause for Alarm,' bridging hardcore punk with crossover thrash. Over four decades, they've remained fiercely committed to the streets that raised them, serving as elder statesmen of a movement they helped create.
Alexisonfire emerged from St. Catharines, Ontario in 2001 and became one of the defining post-hardcore bands of the 2000s, pioneering the 'screamo' tag in mainstream consciousness. The interplay between Dallas Green's soaring clean vocals and George Pettit's raw screams created a dynamic tension that drove albums like 'Watch Out!' and 'Crisis' to platinum status in Canada. Their 2022 reunion album 'Otherness' proved the chemistry between their dual vocal attack remains as potent as ever.
Angel Du$t began as a hardcore offshoot and quickly became a vehicle for Justice Tripp's restless version of guitar pop. A.D. and Rock the Fuck on Forever kept the songs short, wiry, and rooted in the directness of hardcore punk, but even there the writing leaned toward hooks rather than punishment. Pretty Buff made the pivot unmistakable, adding acoustic strums, saxophone, hand percussion, bright choruses, and an almost mischievous sense of optimism to music still played with hardcore economy. YAK: A Collection of Truck Songs stretched the band further into loose, melodic rock, folk-pop color, and road-worn singalong energy, while newer material keeps folding that sweetness back into quicker, rougher punk forms. The band's unusual charge comes from the people involved: musicians connected to heavy hardcore playing songs that often seem more interested in The Lemonheads, Bad Brains, The Replacements, and classic rock immediacy than genre purity. Tripp's voice is casual but insistent, and the arrangements rarely overstay. Angel Du$t's best songs feel tossed off in the moment, yet the craft is exact: small parts, big hooks, and no wasted motion.
Anti Nowhere League formed in Royal Tunbridge Wells at the end of the 1970s and became one of the most confrontational bands in British punk. Fronted by Animal, the group built its reputation on blunt riffs, coarse vocals, biker-gang imagery, and songs designed to provoke as much as to rally. Their early single "So What" became notorious for its explicit lyrics and later gained a second life through heavy metal and punk crossover audiences. The 1982 album We Are... The League captured the band's rawest era with sneering street-punk energy, simple but forceful guitar work, and a deliberately abrasive sense of humor. After lineup changes, breaks, and returns, Anti Nowhere League continued releasing records and touring, maintaining a sound rooted in direct choruses, antagonistic stage presence, and no-frills punk aggression. Their history is inseparable from the rougher side of UK punk, where shock, volume, and attitude were treated as core musical weapons.
Brooklyn's Biohazard were pioneers of the rap-metal crossover, fusing New York hardcore with hip-hop elements years before the nu-metal explosion made it mainstream. Formed in 1987, their self-titled debut and 'Urban Discipline' laid the groundwork for the fusion of heavy riffs and street-level vocals that would dominate the late '90s. Their uncompromising sound and confrontational live shows made them one of the most important bands in the evolution of heavy music in New York City.
Boston's Blood for Blood were one of the hardest and most controversial bands in the '90s hardcore scene, blending metallic hardcore with street punk grit and unflinching working-class anger. Vocalist Buddha's menacing delivery on albums like 'Revenge on Society' and 'Spit My Last Breath' made the band a lightning rod for both devotion and criticism. Their raw, no-apologies approach to hardcore influenced a generation of tough-guy hardcore bands that followed.
Cage Fight formed in London in 2021 around guitarist James Monteith, vocalist Rachel Aspe, bassist Jon Reid, and drummer Nick Plews, with a sound that treats thrash metal and hardcore as parts of the same blunt instrument. Their self-titled debut followed the Hope Castrated demo and introduced a band more interested in impact than ornament: short songs, sharp grooves, barked vocals, and riffs that move from crossover speed into pit-ready weight. Aspe's presence is crucial because her delivery gives the music a furious, human center, whether the songs are attacking hypocrisy, exploitation, or personal violation. The band quickly earned attention through tours and festival appearances with acts from both metal and hardcore worlds, which makes sense because Cage Fight's identity sits directly between those communities. Later singles leading toward Exuvia widened the palette while keeping the old-school aggression intact. Cage Fight are heavy without being fussy, and their best tracks feel like they were written backwards from live reaction. The appeal is not technical display, but the discipline to make every riff land with immediate force.
Cancer Bats formed in Toronto in 2004 and built a durable identity from hardcore velocity, sludge-metal weight, and Southern-rock swagger. Birthing the Giant introduced the basic formula, but Hail Destroyer turned it into a broader heavy-music statement, with Liam Cormier's barked vocals, Scott Middleton's thick riffing, and a rhythm section that made the songs feel both punk-fast and groove-heavy. The band never fit neatly into one Canadian hardcore category; they could tour with metalcore bands, punk acts, and stoner-heavy groups without sounding misplaced. Bears, Mayors, Scraps and Bones, Dead Set on Living, Searching for Zero, The Spark That Moves, and Psychic Jailbreak show an ongoing preference for compact riffs, gang-shout choruses, and dirty momentum over technical display. Their Bat Sabbath alter ego, dedicated to Black Sabbath covers, also makes the lineage obvious: Cancer Bats treat classic doom and Sabbathian swing as fuel for hardcore movement. Their strongest records feel like party violence with discipline, full of sweat, fuzz, stomp, and a very physical sense of release in motion onstage nightly.
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World Metal Index is an index of World heavy metal bands — death metal, black metal, thrash metal, doom metal, metalcore, hardcore punk, and all heavy music. Browse bands by genre, find metal concerts near you, and discover the World metal scene.