Their latest single, “Tread” jams the hypnotic rhythms that you’d usually hear in those more free-flowing and long-form tracks into a tight two minutes. It brings the jam to the study beats structure. Led by a magnetic trumpet line and supported with piano, flute, and an enchanting vocal line, this one’s easy on the ears. 2ŁØT’s off to a strong start in 2026 with “Tread” and other highlight releases like “Come Together” and “Favorite Star.”

Give “Tread” a listen on Spotify — while you’re there, check out our new Study Beats and Instrumentals playlist. We wanna drive you through with the fuzzy glow of traffic lights, the moon, or your computer screen.

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The first track “SIMP” begins with the singer rolling his r’s into a battlecry. GSBP are loud and rebellious in the best ways. The drummer is very talented – the fills are fast and accurate, perfect for an edgy, punk rock mouthfeel. The singer yells, “I’m not bored, but I’m not rich / I’ll be your simp and I’ll be your bitch!” Whether comedic or social commentary, these lyrics aim to dismantle modern dating tropes.

Next, we have “Two Pump Chump.” The song starts off syncopated with a crunchy, distorted guitar and sludgy bass. With hilarious lyrics like, “I don’t know what to wear, so I came in my pants…” GSBP effectively details an embarrassing happenstance. It’s amplified by instruments turned up to eleven and an uproarious vocal clip at the song’s end.

Finally, the last tune of this EP, “Keyboard Warrior,” has distortion in spades once again. In this song, GSBP embraces the technological phenomenon of hiding behind the computer screen. “I’m alone / I’m so alone / All I do is bitch and moan…” can be heard throughout the song. The track ends crisply with a blazing guitar solo.

GSBP’s SIMPhony: First Movement is FFO of Black Flag, NOFX, and Minor Threat. GSBP is releasing their new LP in a rather interesting way: in four separate EP movements that culminate into a full album. Each song will have a music video, and the album as a whole with be available to purchase on vinyl from JeffTown Records on June 26th, 2026. Until then, start strong with SIMPhony: First Movement here!

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There’s something to be said about living in the moment. Dutch and Dreams explore why this happens, whether it’s romantic partners, substances or other vices. Sharp lines assess what succumbing to those feelings means, and whether or not this impacts good graces later on. “I see a bit of heaven outside of my window.” Production-wise, we’re super smooth to match the polished delivery of both artists, and there’s a great little vibe shift for the back half of the track. Some cool visuals are available here too.

If you’re feeling this track, give these artists a listen on Spotify. While you’re there, check out buffaBLOG’s Best Hip Hop of 2026 playlist – you’ll find a great list of underground rappers there.

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The track itself is devastatingly great – a thought provoking and mood-setting piece of music that sounds like the end of the world. Heavy, but contemplative, this could be an apocalyptic soundscape or something to ponder to while you’re contemplating something morose.

You can hear it below on YouTube, as well as Spotify. Slow & Dreary will be out April 24th.

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Musically, it feels like a great, slow-mo underwater song – for some reason that I can’t eloquently explain. That 90’s shoegaze aesthetic is strong here, but it manages to feel like something new, as opposed to a retread. It’s a great guitar-forward track that somehow feels like four seconds and also four years. I literally got lost in it as I was listening the first go around and I was quite surprised.

You can hear it below on Soundcloud, as well as Spotify. They’ll be releasing an EP via Noon Records in the near future so keep your eyes peeled for that!

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You can see the music vid for the track below via YouTube. It’s a little avant garde but not ostentatious and it has Elvis in it, which is both appropriate and funny. Speaking to the track, the band said that

“…graceland felt like the right metaphor – myth, aspiration, somewhere just out of reach…”

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You can hear the track below from YouTube as well as Spotify. If you felt the beautiful connection betwixt the three SSS’s, you’ll enjoy their smattering of singles they’ve released over the past couple years. (I particularly enjoyed “sea salt”).

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Founded by lead vocalist Billie Page (Lockjaw, Wrong the Oppressor) in the Spring of 2023 at the encouragement of a friend, the line-up solidified with the recruitment of Khari Waits (Onnpoint, Disrepair, Hostile Thoughts), bassist Sean Reverie (Reverie, Makeshift Graves) and drummer Dan Marin (Coterie of Stern, Skags). Since then, Kill Uncle has wasted no time building up a profile with a steady stream of Black Flag and horror punk-inspired releases while rocking stages across the 716.

We Are the Wicked opens with the squealing dissonant strings of “I Am in Hell Help Me,” a previously released single and excellent table-setter to the band’s abrasive buffet. What stands out instantly are Page’s distinctive barking vocals; delivered with enough force and ferocity to break down brick walls. Instrumentally, Page’s pipes are supported with a contagious combination of distortion-soaked riffs and hopscotch drums that build to a groovy bass break and guitar solo. With all these elements in play, each section feels fresh and engaging; a recurring theme that keeps We Are the Wicked from ever getting boring or repetitive.

Next up on the track list and clocking in at a breakneck 30-seconds is “Disgraced.” Kill Uncle takes no prisoners and stamps the pedal to the metal with this bludgeoning hardcore speed run. As high energy as it is high tempo, expect your heart rate to spike as Page and company bulldoze their way through verses before rallying into a catchy, melodic bridge. It’s short, mean, and over before you know it.

The first true standout on the record is the single, “Werewolves of Kaisertown.” This earworm bores into your brain the way old Misfits tracks used to: with commanding vocals, gritty riffs and gang choruses. Waits’ opening chords promise a stellar song while Reverie and Marin’s bass and drums bounce along to fill out a fun, eerie rhythm. Billie’s magnetic howls and lyrics are especially noteworthy and create a tipsy, dizzy-bat cadence that makes you feel like you’re stumbling home from Porky’s.

“Total Control” is another bruising song you don’t want to skip and sees Kill Uncle leaning heavily into their Black Flag influences. The band crashes in like a sledgehammer with rapid-fire, hardcore verses and choruses for an ironically out of control first portion. Upon suffering a sonic aneurysm, the assault grinds down to a sole beefy bass line that echoes as if inside a vacant mind. Waits and Marin gradually build the beat and tempo back up with spazzy, sanity-testing tones and textures that leads to a total psychotic break.

Closing out the record is the tense title track, “We Are the Wicked.” Its red herring intro drops your guard with mellow bass chords and a head-nodding rock groove before fading to black. Page sits in the stillness of the beat and shatters it with the haunting bellow, “all the evils, all them in me,” an arresting and ruthlessly cold lyric that cuts deep to the psyche. That trigger launches into the meat of the song with alternating sections of speedy drum fills and fast-picking to more melodic and catchy rhythms.

As a whole, We Are the Wicked rocks. On an audio level, each band member sounds crisp, clean, and balanced thanks to the talents of Joe Rotten (One Way Terror) of Rotten Metal Recordings behind the boards. The biggest pitfall a lot of hardcore bands fall into is when their material starts to sound formulaic, however, Kill Uncle avoids this by giving each song “a moment” or hook that keeps it standing out amongst the rest. Another highlight is Page who is a fantastically wild vocalist and anchor for the band’s style of loud, aggressive and unpredictable music. They bring a rawness and distinct identity that makes Kill Uncle unmistakable. If Kill Uncle wasn’t on your radar before, they will be after this record.

We Are the Wicked is out now via all streaming platforms including Bandcamp, Apple Music and Spotify.

Catch Kill Uncle live on May 8th at Revolution Lounge alongside Motorhead tribute, Iron Fist, and keep an ear out for details on upcoming Pride performances at Milkies and Third Space in June.

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Check out the music video for “Never Better” embedded below. While you’re at it, check out our previous features of Robbery Club here and here.

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The group, made up of SavageSpitFlames, Sam Tate, Squad and L.O.E Boog, bring a eclectic mix of styles that round out to feel very Detroit. Their latest single, “Up the Smooth Water” is a great barometer for the sound over there, and it’s exciting to see shine getting brighter for a legendary city for hip hop.

The first thing you’ll notice about this track is it’s appropriately smooth, and the sample is front and center. A lot of Detroit and Rust Belt rappers in general have a conversational flow, with lines very casually moving into the next, and I love that about this track. Between the 80s soul-feel of the beat, and each of these dudes shining with unique, charisma and conversational-driven flows, you can chew on a lot here,

If you’re feeling “Up the Smooth Water,” check out Already Legends on Spotify – you can also find featured artists Freddy River and billy winters there too. And be sure to check out our Best Hip Hop 2026 playlist, featuring the Legends and more.

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