Synonymous with drawing emo, post-hardcore, and pop-punk rising talent to the surface for their time on the mainstream radar, Rise Records’ history books trail back to Nevada City, California in 1991. What began as a pre-college project for talent-spotter Craig Ericson would later become a household name in their field, fostering the rise of bands on either end of the musical spectrum, from Attack Attack! to Spiritbox.

Read more: 20 greatest Fueled By Ramen bands

In celebration of the label’s decades-long time in the spotlight, we’ve curated a collection of Rise Records’ ultimate signings, whether short-lived or enduring the artist’s entire career on the scene.

Spiritbox

Iwrestledabearonce’s loss became Spiritbox’s gain as husband and wife duo Courtney LaPlante and Mike Stringer cut loose in search of their own creative paths. Forged in 2016, it would take the Canadian outfit five years to pursue full-length domination with Rise Records at the helm for their debut, Eternal Blue, in 2021. Not content with setting the metal world alight with the strongest debut the scene has witnessed in years, Spiritbox’s genre-busting trajectory shows no signs of waning as they dominate live stages with an approach that refuses to be placed into any box.

AFI

While we never expected haunting acoustics and sinister synths to bleed into AFI over from vocalist Davey Havok’s side project Blaqk Audio, their first release via Rise has proved that even a cloak of new-wave mystery suits the emo landmark outfit. Eleven albums into their trendsetting career, 2021’s Bodies challenged fans’ expectations of the band that once soundtracked everybody’s emo phase as they journeyed through post-punk inflections akin to Gary Numan. After all, every emo has to grow up eventually… don’t they?

Crown the Empire

If you find the winning formula, stick with it. Rise mainstays Crown the Empire’s fateful singing to the label in 2012 set their course for success with their debut outing, The Fallout. Five records in, the four-piece have settled neatly into the Rise fold while exploring the boundaries of their creativity, often escaping the confines of their theatrical, larger-than-life metalcore.

Mayday Parade

While it seemed as though Mayday Parade would belong to Fearless Records forever, 2018’s Sunnyland proved they didn’t need to change their signature sound to jump ships to Rise. Remaining true to their singalong roots, each emotionally charged lyric and soaring guitar sounds as typically Mayday Parade as ever. 2021’s What It Means To Fall Apart cemented their determination to polish their gut-wrenching pop-punk trademark for a modern audience that never grew out of their emo phases.

The Early November

Joining the Rise Records fold in 2012 for their third album, In Currents, alternative-rock outfit the Early November brought their contemplative cries and emo inflections to the table and received a warm welcome. Three years later, Imbue expressed overflowing rage alongside introspective anguish, as if these opposite ends of the spectrum come as an inseparable pair. Although 2019’s Lilac called time on their relationship with the label, there’s no mistaking their great output during their tenure. 

Sleeping With Sirens

A world without “If You Can’t Hang” isn’t a world we want to know. Without the backing of Rise, we may never have heard Kellin Quinn’s inimitable high pitch or Jack Fowler’s screaming leading lines. Signing to the label in late 2009 to release their debut LP, With Ears to See and Eyes to Hear, the Orlando scene-setters drove their flag into the ground and quickly set the pace for their earworm-inducing future. Sleeping With Sirens’ most memorable eras continued under Rise, including follow-ups Let’s Cheers To This and Feel, establishing the label as a force to be reckoned with across the post-hardcore landscape.

Angels & Airwaves

Just when you thought Angels & Airwaves was a mere love affair of a side project for Tom DeLonge, 2021’s Lifeforms revived the conspiracy for their sixth full-length dive into outer space. Signing to Rise and returning to their post-punk origins, Lifeforms is the sound of the San Diego unit inching as close to the borderline with blink-182’s trademark sound as they can while exploring endless topics in their lyricism. From diving into the depths of gripping conspiracy theories and political views to dissecting DeLonge’s emotions from his divorce two years prior, their future within the Rise fold is bright and appropriately extraterrestrial.

Mothica

The TikTok generation veers away from label signings in favor of autonomous promotion and self-governance. However, Mothica need not fear being held down by the label she’s chosen to channel her electrifying, genre-sweeping talent. Refusing to be pigeonholed into pop, rock, or emo, the rising star signed to Rise for her sophomore album, Nocturnal. It’s an all-encompassing journey through her musical inspirations, as well as a step-by-step guide to crafting a song that will stick with listeners for days on end.

Knuckle Puck

Chicago’s own pop-punk heartbreakers Knuckle Puck took a leaf from their genre’s history books by releasing a staggering six EPs before taking the plunge into a full-length debut. As a result, Copacetic arrived in 2015 at the perfect time for a band approaching musical and lyrical maturity as its members reached their 20s. A fateful signing to Rise in 2014 just in time for this foray into full-length records paved the way for an album now considered a pop-punk landmark by many — particularly if you like gut-wrenching, genre-hopping tracks at nearly eight minutes long. The band seem to have found a comfortable spot under the Rise umbrella, having remained with the label through all three studio albums.

Circa Survive

Vocalist Anthony Green’s words on lead single “Imposter Syndrome” tell the tale of Circa Survive’s full-length Rise debut — “Writing this either helped save me or almost killed me. I can’t figure out which yet.” 2022’s Two Dreams explored difficult emotional depths through a far more fragile tone than their previous six studio ventures. Although the process of such vulnerable writing would lead the band to call time on their 18-year history with an indefinite hiatus that same year, Two Dreams was a phenomenal swan song for the band that always forged their own path. 

From First To Last

We’re not saying Throne to the Wolves was the catalyst for From First to Last’s short-lived hiatus that same year, but their 2010 release was a fitting close to what fans assumed would be the end of an era. Luckily, they couldn’t stay away for long, but the enormous production and captivating continuation of their trademark no-punches-pulled style gave listeners hope that the group had plenty more to give. While Throne to the Wolves was their first and only Rise venture, capturing the trendsetters at the top of their game was a wise move.

Man Overboard

Man Overboard’s self-titled sophomore album in 2011 saw their signing to the label the previous year pay its dividends as they took their contagious shout-alongs on tour with New Found Glory a mere two months later. Sticking with the label for their following two releases, Heart Attack and Heavy Love, the New Jersey pop-punk crew called a hiatus in 2015 and have yet to return to the studio. Sometimes the shortest stories are the best stories, and Man Overboard’s impact remains.

PVRIS

PVRIS’ signing to Rise in 2014 brought the scene some much-needed, vibrant new blood. Armed with a storming debut in White Noise, the brainchild of Lynn Gunn made quite the impression. Continuing under the Rise umbrella for 2017’s All We Know of Heaven, All We Know of Hell, the outfit received numerous industry awards in recognition of their innovative approach to alternative rock and post-hardcore.

Transit

Journeying from pop punk to indie rock with a few pitstops inspired by their contemporary emo influences, Transit took the term “genre-fluid” as a challenge and passed it with flying colors. Joining the Rise family for 2011’s emo throwback Listen & Forgive, the Boston, Massachusetts outfit embraced the freedom to explore the music they loved as fans as well as musicians. Two emotionally driven ventures later, the band called time on their decade-long career, closing their chapter on a high with 2014’s alternative-leaning Joyride and leaving listeners with an even more poignant catalog in light of guitarist Tim Landers’ passing in 2019.

At the Drive-In

Seventeen years away from the studio reinvigorated At the Drive-In’s passion for their craft, signing to Rise in 2017 for a suitable punk-esque resurrection on in•ter a•li•a. In retrieving the fun elements of recording and collective experience for a band that had spent the better part of two decades apart, their fourth studio venture also tackled hard-hitting subjects in their own inimitable, no-punches-pulled manner. Although the band announced an indefinite hiatus the next year, this formidable swan song captured what At The Drive-In do best — force listeners to face hard truths in the medium of artsy post-hardcore.

PUP

In partnership with the Toronto punks’ own label Little Dipper, PUP’s first release on Rise, Morbid Stuff, was their most polished yet. Stacked with their own sardonic, self-deprecating verve, PUP explored the freedom to be as bleakly real as possible with no compromise in sight. Let’s face it: Any band that can get the EP title This Place Sucks Ass past a record label deserves a medal. 2022’s The Unravelling of PUPTheBand only furthered their mission: have fun, commence chaos, and draw in new fans along the way.

Bouncing Souls

At its core, pop punk should really be chaotic, energetic, and contagious enough to ring through your mind for days. For two gloriously summer-like albums, Bouncing Souls joined the Rise family in collaboration with their personal label Chunksaah. 2012’s Comet, their ninth album, saw their singalongs mature to reflect their acquired pop-punk wisdom. That bled into 2016’s Simplicity before the outfit departed the fold at Rise, having banked two consistently true-to-form records.

Attack Attack!

Arguably the most definitive Rise outfit, Attack Attack! became synonymous with the label. Shaping the screamo subgenre around their own signature vocal style (and how to crouch while holding a guitar — we’ve all seen “Stick Stickly”), the band blasted the scene with relentless riffs and inimitable screams for three Rise-branded records before dipping at the top of their game in 2013. For a group that played such a vital part in the DNA of the label, we simply couldn’t list Rise artists without handing a trophy to the band that brought the label to prominence at the height of the emo golden age.

Polyphia

Polyphia’s fourth studio adventure in instrumental artistry, and their first with Rise, Remember That You Will Die, was jam-packed with unpredictable guest spots. That included Deftones’ Chino Moreno, Steve Vai, and rapper Snot to craft a well-rounded album that feels like a true experience from start to finish. Reflecting listeners’ approval, the album climbed the Billboard Top 200 to No. 33 and proved that their experimentalism, and move to Rise, paid off handsomely for the progressive set.

The Distillers

From an iconic appearance on the soundtrack for Tony Hawk’s Underground 2 to parting ways with almost every member in 2006, it seemed, for all intents and purposes, that the life of the Distillers had come to a close. However, as fans will know, this band don’t conform to linear expectations, and a return in 2018 came seemingly out of the blue. Signing to Rise for their first live album, 2021’s Live In Lockdown, it seemed even COVID-19 couldn’t keep the LA punks away from the studio after nearly 20 years, dragging the likes of “Sick of It All” and “City of Angels” into the 2020s. Whether this signals a long-term future for Brody Dalle’s anarchic brainchild remains to be seen but is highly anticipated.

Read more: The Aquadolls embody style on and off the stage

The Cure, the dark and brooding cherry on top of a rainy weekend, who played the festival’s final set Sunday night, have been a cornerstone of alternative music and culture — one of the first bands of its kind to break, before alternative had hit the mainstream — and a ringleader in the post-punk movement and founder of the gothic rock genre. Whether we’re talking about the first waves of emo or contemporary hardcore, the Cure’s adamantly nonconformist attitude, gut-punching basslines, and gloriously addictive whine with which Smith delivers such heartbreaking lyricism has left its mark, however indirectly, on those in the industry making their way outside of the mainstream. 

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All that is to say, when it comes to artists who refuse to be boxed in, Riot Fest is, year after year, replete with the best. And this year, from the Breeders to Death Cab for Cutie, Turnstile to Ani DiFranco — we were truly among alternative royalty, in every shape and form. Though the highlights are too many to include, we witnessed a slice of pizza crowd-surfed to L.S. Dunes vocalist Anthony Green — an homage to the slice he’d been surfed at a Circa Survive show years earlier — we were doused with rain and Faygo during an unruly and unforgettable ICP set, and watched Corey Feldman take notes from Bert McCracken, ripping off his holographic sequin shirt onstage. 

Album play was a theme for many bands on the bill this year, the Deal sisters performing the entirety, “even the weird ones,” from their band the Breeders’ Last Splash, Death Cab for Cutie and the Postal Service running through Transatlanticism and Give Up, Glassjaw’s Daryl Palumbo playing through 2004’s Decadence with his group Head Automatica. However, there was nothing trite or cute about these nostalgic moments — each band brought real heat, cementing their impeccable sound in both the past and present for an experience that was both deeply emotional, sonically impressive, and a huge reminder that though we’ve chosen to dive into the landscape of all things alternative, its truest depths are yet to be discovered. And we hope they never will. 

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With Zach Hill’s immaculate drumming during the Death Grips set, High Vis frontman Graham Sayle’s sprightly hardcore high kicks, or 100 gecs’ ability to transport an exhausted, damp audience to another, far weirder and more wonderful place and time — this Riot Fest was one for the books. And though it might not be the stems of “Just Like Heaven” that ties a dedicated, incredible social activist and folk-rock legend like DiFranco to Dave Grohl, from set to set it was made evident that the thread tying each artist in Chicago together, just like Smith, refuses to be categorized — and rather, chooses to focus on honesty, authenticity, and never shying away from the darkness. 

Decades before the Cure’s Robert Smith was hailed as a godsend for having Ticketmaster refund their fans due to “unduly high” fees, he was penning pop love letters to his future wife.

Read more: AFI reflect on creating their breakthrough hit “Girl’s Not Grey” 20 years later

“Just Like Heaven” marked a breakthrough for the Cure, and their ability to transform their sound from blackened dirges to transcendent pop hits inspired countless bands, including AFI. Back in 2007, the band performed at the Virgin Festival in Vancouver, and — after running through cuts like “Prelude 12/21,” “Girl’s Not Grey,” and “Silver and Cold” — they pulled out a cover of the Cure classic toward the end of their set.

“This one is for the Vancouver boys in hot, hot heat. Canada has great bands, do they not? Skinny Puppy, Godspeed [You! Black Emperor]. Wasn’t the Cure from here?” frontman Davey Havok teases. Soon, AFI launch into a fiery rendition of the 1987 hit, with Havok’s impeccable vocals and Jade Puget’s hypnotic guitar serving as a loving tribute to the goth pioneers.

Watch the performance below.

Read more: AFI reflect on creating their breakthrough hit “Girl’s Not Grey” 20 years later

After announcing the show in late 2022 and saying it was “first and last time ever” that they would perform the album in its entirety, the group got together at the Kia Forum in Inglewood, California on Saturday, March 11 to take it live. They were joined by Jawbreaker, Chelsea Wolfe, and Choir Boy, and played favorites like “Girl’s Not Grey,” as well as deep cuts like “Death of Seasons.”

Clips of the once-in-a-lifetime performance have surfaced online. You can watch fan footage of the entire set, as well as select songs like “Miseria Cantare – The Beginning,” “The Leaving Song Pt. II,” “Death of Seasons,” “Paper Airplanes (Makeshift Wings),” and “This Time Imperfect,” below.

In 2003, the bases were loaded for Bay Area hardcore punks AFI. Following the release of five genre-defining albums on the indie powerhouse label Nitro Records, AFI decided to make the jump to the major leagues of DreamWorks Records for the release of their sixth studio album, Sing The Sorrow.

The release propelled them from the humble stages of sweaty punk clubs like 924 Gilman Street to massive arenas, where they’d become mainstream rock darlings who would dominate the airwaves of MTV and TRL for years to come. Possessing a more post-hardcore, goth, and, at times, new-wave sound, Sing The Sorrow served as a perfect transitional record for the beloved group as they ventured into more melodic and accessible territory. 

Despite being written at the eleventh hour, the album’s lead single, “Girl’s Not Grey,” ended up being the group’s mainstream breakthrough release and went on to become one of the most recognizable songs in their catalog, which remains a permanent staple in their riotous live shows to this day. In the early ‘00s, “Girl’s Not Grey” was almost inescapable, as the music video directed by David Slade (who’s since directed movies like The Twilight Saga: Eclipse and 30 Days of Night) constantly played on MTV. The frequent programming made sense, because not only was the track itself a hit, Slade created a stunning, Alice in Wonderland-inspired concept and set design that captured the band’s unparalleled gothic aesthetic, and even helped to introduce recurring themes and characters that became central pieces in AFI’s unique brand of imagery. 

Centered around melodic guitar lines, locked-in rhythm sections, gang vocals, and the impressive range of the band’s inimitable frontman Davey Havok, “Girl’s Not Grey” could hold a candle to any pop song that was dominating the radio at the time, while still satiating even the most punk purists. Havok’s poetic wordplay, while dark and ambiguous, managed to captivate listeners with ease — even if the majority of people singing along weren’t certain they knew what the song was really about. 

[Photo by Matthew Welsh]

The genesis

JADE PUGET (GUITAR): This song is actually different from any other song on [Sing The Sorrow]. We had basically finished writing the record, but at the very end, we decided we would try to write one more song. I needed a change of scenery to get into a different headspace, so I went to Toronto, Ontario to write some more and thought if nothing comes from it that’s fine, because we already had a cool record already. I sat in a hotel room for a few days and wrote the music of the song, as well as the [verse] melody, and came back with just that and showed it to Davey [Havok]. From there, he wrote the lyrics to the verse and I helped come up with the call-and-response thing [in the chorus]. 

ADAM CARSON (DRUMS): Being the first single [for the album], we wanted the song to showcase everything that AFI is and was at the time. It’s a melodic, anthemic chorus with the gang vocals, and it’s an up-tempo song that has a pacing that was probably a little bit faster than a lot of stuff on the radio at the time. With the quieter, moody, broken-down middle-eight, it’s really all the hallmarks of the band at the time. It’s a song that really works as the first song in a set, which is why I think we’ve played that song probably more than anything. It’s funny because as I am rehearsing and preparing for the Sing The Sorrow anniversary show we are playing [next month], I’m always shocked when I see that “Girl’s Not Grey” is the sixth song on the record.

PUGET: I believe that I voted for it to be the first song on the record, but I was the only one. 

[Photo by Ross Haflin]

The lyrics

PUGET: It’s hard to speak for [Davey], but I know that his intentionality is usually clouded in mystique as he wants it. He doesn’t put ideas out there that can be easily parsed and he’s one of those “you figure out” kind of guys. I always thought the song’s chorus was kind of funny because the lyrics say, “What follows, just begs to be imbrued,” and imbrued is not a word anyone ever uses. For a song on mainstream radio that has these bizarre, opaque lyrics, I’m surprised it did as well as it did. No one wants to sing along to a word like imbrued. 

CARSON: I’ve been singing those backing vocals for 20 years now and my wife recently asked me what the lyrics were and I realized I didn’t quite know. I had become so conditioned to singing the melody and cadence of those lines but not really knowing what I was singing. 

PUGET: There are a few AFI songs that I’m sure that I’m probably just singing my own made-up lyrics to. [Laughs.] 

The music video

HUNTER BURGAN (BASS): I remember [the director] David Slade carried around this little notebook with drawings of rabbits because rabbits were his thing. At the time, Davey was also heavily into rabbits, so they instantly bonded over that and knew we had to have them in there somehow. 

CARSON: It was our first time ever making a real big-budget music video. We didn’t know what to expect going into it, but walking into the soundstage and seeing the giant set that was constructed with the hills and psychedelic landscapes with the red and trees was pretty full on. It was exciting to be a part of something that felt so big. 

PUGET: I will say with the red, the leaves, and the hills, it was a really beautiful set, especially in person. Compared to the other part where we’re painted black, which was kind of janky, the [set] part was really cool. I remember David Slade having a lot of nervous energy, and he used to chew on his sweater, which I think was a way for him to harness his nascent inherent energy. 

CARSON: The bunny that is featured in the video was actually worn by an actor, and we recently unearthed the bunny suit in a storage locker at our management’s office, so we gifted it to the Punk Rock Museum that is opening in Las Vegas. 

PUGET: For $1.99, you can wear it and walk around the museum.

CARSON: I also remember the actor who was playing the bunny took some steps and tripped over something and sort of fell in slow motion. The whole time he was starting to fall, you could hear this bunny going, “Oh shit, oh shit, oh shit.” 

To say Brody King is a renaissance man would be an understatement. Not only has he become a top figure in the wrestling industry in just one year after his major debut in the All Elite Wrestling (AEW) promotion, but he is also the frontman for modern hardcore’s most beloved and visceral new acts God’s Hate whenever he is not at home with his wife and two children. As a young kid from the Antelope Valley of California, King was raised on wrestling and hardcore –– eventually turning both of his passions into full-time careers through hard work and a competitive mindset. Between nationally televised fights across the country and beyond ––  to playing for 6,000 people at this year’s Sound and Fury Festival with God’s Hate, King is a prime example of doing everything to its fullest extent. 

While King is most certainly a force to be reckoned with in the ring, it’s when he steps on stage with his band God’s Hate that he takes on an entirely new form as a conductor of chaos and musical brutality where every show feels like a war zone. With endless circle pits, stage diving, and most recently illegal fireworks being set off in the crowd –– King is a can’t-miss presence that is bridging the gaps between hardcore and wrestling culture as a whole. 

Read more: Jobber pay tribute to pro wrestling with their empowering debut EP Hell in a Cell

We sat down with Brody King to discuss his influences and journey to both the major leagues and the main stage –– as well as his iconic cameo appearance on Netflix’s hit comedy series I Think You Should Leave. 

[Photo by Rebecca Lader]

Growing up as an avid fan of both wrestling and hardcore music, who were you looking up to from both sides of the spectrum? 

Wrestling has been around my life forever — my Dad got me into it as a kid — so my earliest memories were watching wrestling. I was into the Undertaker and more of the darker characters, but got out of wrestling around middle school when it started to not be as cool anymore. [From there], I got into punk music with bands like AFI, The Offspring, and NOFX. This was also the time when nu-metal was popping off as well, with bands like Mudvayne, Slipknot, and Korn. In high school, I started going to local shows. It was bands like Madball, Hatebreed, and Terror that resonated with me; this is what I [eventually] latched onto and have emulated going forward. 

How did you rediscover your passion for wrestling again, and what was the journey like to not only enter the independent circuit, but eventually be propelled to the major leagues with Ring of Honor and later All Elite Wrestling? 

I started re-watching wrestling in my mid-20s when CM Punk was [a part of the straight edge wrestling stable] Straight Edge Society, which is what initially caught my interest. I signed up for wrestling school and it was pretty quickly that I realized this was something I could do at a high level because I obviously had the look and size — but on top of that, I had the business mindset and mental toughness that comes with wrestling. With the traveling, stress, and pain that you put on your body, that stuff didn’t bother me as much as some of the other people. With my competitive nature, it was like let’s go for broke with this, and I remember telling my wife to give me five years and if I wasn’t signed to a major contract then I’d stop. Within three years, I was signed to Ring of Honor. 

January 2023 marks your one-year anniversary since your All Elite Wrestling Debut. What highlights or milestones stick out to you when reflecting on this whirlwind year? 

From one year ago almost to the date, Ring of Honor folded as a company and basically told us we were all released from our contracts. The next day, I was on the phone with [AEW president] Tony Khan, and ever since it has been unbelievable going from the lowest of lows to now incredible success. Wrestling Darby Allin on national TV was a huge full-circle moment, wrestling Jon Moxley for the AEW Heavyweight title was awesome, and even playing Sound and Fury [with God’s Hate] to 6,000 people in Los Angeles was incredible. This was one of those years that you would write a book about. 

God’s Hate has quickly become one of the most beloved and respected modern hardcore acts. What is it that you want to bring forward with the band’s performances and the overall mission statement? 

It’s evolved over time. It went from me being in a band that I enjoyed being in to now [when] seeing God’s Hate is almost like a spectacle. I don’t like the term “gimmick” for hardcore bands, but we [do] kind of have our own gimmick where it’s six cavemen up on the stage trying to go as hard as the crowd is. We all use [the band] as an outlet to let loose and give all of ourselves. Some bands set rules for what is allowed at their shows, but for ours, it doesn’t matter. If you want to fight each other, then fight each other as long as no one is getting seriously injured. I’m on stage screaming, “Kill them all,” or “More violence,” so who am I to judge? [Laughs.] 

Even the lyric “Life is hard, be harder” from the song “Be Harder” has become somewhat of the band’s motto, and such a big part of your overall story. Now fans even show up to your  wrestling matches with signs that say that. 

That has become the ethos of the band, and when you read that, it sounds macho or hard-headed — but the number of people who have told me that it helped them get through the pandemic or life, that means a lot. We wrote [“Be Harder”] to be our inspirational song for you to dig inside yourself, because only you can push yourself forward. 

What are your goals next for both your wrestling career, as well as musically with God’s Hate? 

I feel like every year we set a goal, and just blow past it. This year, I was hoping to be a part of AEW — and now I’m a huge part of it, towards the top end of the roster. Hopefully, we’ll be going for some trios titles, or even a singles title, in the future. I would love to go to Japan again with both God’s Hate and as a wrestler, and to play Sound and Fury again and see how we could step it up. I don’t know how, but maybe someone will bring a tank in the fucking pit this time. [Laughs.] 

I also have to ask, how did you end up doing a cameo appearance on season 2 of the Netflix sketch comedy series I Think You Should Leave? 

My friend Madison [Woodward] (who helps book Sound and Fury, works for [the creative collective] Brain Dead, and plays in a bunch of bands) used to run a wrestling company called Suburban Fight. I have been with him since the beginning. A producer from I Think You Should Leave came out to one of the shows, and right before the pandemic, they sent him an email asking if he knew any wrestlers who would be interested in doing a skit for the new season. [Madison] reached out to me and I was like, “Absolutely,” because I already loved the show. I forgot to tell anyone about [the cameo], and then the trailer came out, which I’m in. It became its own thing and now I’m in a sketch with [comedians] Tim Robison and Conner O’Malley, which is incredible. 

Louis Tomlinson announces 2023 North America headliner

Following two intimate performances in New York City and London, AP cover star Louis Tomlinson will head to North America in 2023. Beginning May 26 in Uncasville, Connecticut, the run will include stops in Indianapolis, Chicago, Seattle, Vancouver and several other cities, much to the delight of his fans. “I know every artist says this, but I’ve got a deep fucking connection with my fans. I think of it as one entity,” Tomlinson told AP in September. You can grab tickets here. —Neville Hardman

Meet Me @ The Altar announce their first-ever headlining tour

Rising pop-punk titans Meet Me @ The Altar have made a name for themselves through their sheer relatability and high-energy music. Now, they’re set to headline their own tour across the U.S. and Canada in spring 2023. Meet Me @ The Altar will kick off their run March 2 at the Gramercy Theatre in New York City, hitting several major markets before wrapping up April 4 at Orlando’s The Abbey. Alternative-rock trio Young Culture and punk duo Daisy Grenade will support the run. Tickets go on sale Nov. 18 at noon EST here. —Alessandro DeCaro

AFI to celebrate the 20th anniversary of Sing the Sorrow for one night only next year

Can you believe it? It will be 20 years since AFI released their breakthrough album Sing the Sorrow in 2023, and for this momentous occasion, the Bay Area crossover-punk legends have planned something truly spectacular. On March 11, AFI are set to perform their beloved record in its entirety for one night only at the Kia Forum in Los Angeles. For the anniversary celebration, AFI have curated an eclectic bill of artists to open, from the recently reunited ‘90s punk/emo veterans Jawbreaker to Chelsea Wolfe and Choir Boy. Tickets are available here. —Alessandro DeCaro

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Spiritbox will embark on their first headline tour this spring

Spiritbox have announced their first-ever headline tour for 2023. The AP cover stars will trek across North America this spring, beginning their month-long run April 10 in Vancouver. They’ll make stops in San Diego, Dallas, Atlanta, Boston and many other cities before concluding May 10 in Minneapolis. After The Burial and Intervals will support. Tickets go on sale Nov. 18 here. —Neville Hardman

Homesick Festival returns for its fifth installment next year with a stacked lineup 

On Jan. 20-21, Homesick Festival will touch down in Berekely, California at the UC Theater for two nights of highly curated music from an eclectic and diverse lineup. The festival, which was founded by Ceremony guitarist Anthony Anzaldo, is set to feature prominent acts such as Snail Mail, Deafheaven, Fiddlehead, Screaming Females, Sheer Mag and Sunami, among many others. Tickets are on sale now here. —Alessandro DeCaro

PUP and Joyce Manor will hit the road early next year

After putting out their fourth album, THE UNRAVELING OF PUPTHEBAND, PUP have spent the better part of the year on the road. Naturally, after coming off a massive run in support of that record, the Toronto punks are headed out the door again at the start of the new year. This time they’ll embark on a co-headliner with Joyce Manor, which kicks off March 1 in Baton Rouge, Louisiana. Tickets go on sale Nov. 18 here. —Neville Hardman

Blur to headline Wembley Stadium after an eight-year hiatus

2023 marks 35 years since the influential Britpop quartet Blur’s inception, and after a nearly eight-year hiatus from playing live, the band have officially announced plans to return to the stage. On July 8, Blur will headline the iconic Wembley Stadium in London to play a career-spanning set from their vast and beloved catalog. Rapper slowthai and pop artists Self Esteem and Jockstrap will support the highly anticipated reunion show. Tickets go on sale Nov. 18 here. —Alessandro DeCaro

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Lizzo is bringing her “Special” tour into the new year

Shortly after concluding the first leg of her North American tour, Lizzo has unveiled a new run of dates for 2023. The pop star will make stops in over a dozen cities, starting April 21 in Knoxville, Tennessee. The run will wrap up June 2 in Palm Desert, California. Latto is set to support. Tickets go on sale Nov. 18 here. —Neville Hardman

Highly Suspect announce their headlining “Ice Cold Winter” tour 

Hard-rock mainstays Highly Suspect are set to heat things up with their upcoming “Ice Cold Winter” tour in 2023. The band are bringing along alternative-rock quartet Dead Poet Society, ensuring a high-intensity night of heavy riffs and anthemic sing-along choruses. Highly Suspect are riding a high after the release of their fourth studio album, The Midnight Demon Club, this past fall and will also be supporting arena-rock legends Muse on select dates of their upcoming world tour next year. Tickets for the “Ice Cold Winter” tour go on sale Nov. 18 at 10 a.m. local time here. —Alessandro DeCaro

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Read more: Meet David Howard Thornton, the nightmarish killer clown from Terrifier 2

From Kim Petras to Type O Negative, these are the 13 artists to soundtrack your Halloween season. Chances are, you’ll discover some hidden gems along the way. 

Kim Petras 

Electropop star Kim Petras’ sophomore album Turn Off the Light beams with Halloween and horror references, set to the soundtrack of dark disco arrangements and chilling synths. The album finds Petras referencing classic Halloween movie scores as well as tales of zombies and vampires. She even enlists horror icon Elvira, Mistress of the Dark for the title track. If you’re throwing a Halloween party and want to get the entire room dancing, look no further than Kim Petras. 

Son of Sam 

While AFI frontman Davey Havok has been involved in several notable side projects, his work with the horror supergroup Son of Sam in the early 2000s was criminally underrated. Son of Sam released just one album with Havok on lead vocals titled Songs From The Earth (2001), which featured a stacked lineup of horror-punk icons — guitarist Todd Youth (Danzig) and bassist Steve Zing (Samhain) — to create a truly powerful blend of deathrock, psychobilly and the classic Misfits-inspired sound that was pivotal during the early days of AFI.

Carach Angren 

Black metal has always been associated with spooky imagery, the occult and Satan, but when you add orchestral and theatrical elements, it hits completely different. Carach Angren are a symphonic black-metal group from the Netherlands that offer the familiar onslaught of blast beats, fry screams and tremolo guitar sweeps you expect from most black-metal bands. But they add a nightmarish cinematic flair to their music that feels like a horror movie soundtrack from hell. If you’re a fan of bands like Cradle Of Filth and Dimmu Borgir, then you will be in for a treat with this eccentric black-metal group. 

Chelsea Wolfe 

Chelsea Wolfe has made a name for herself through her inimitable blending of genres ranging from folk, doom metal and ambient goth-rock — making her a truly versatile artist and enigmatic force you can’t help but be drawn to. Wolfe’s music is riddled with darkness and haunting, delicate energy that is perfect for a chilly autumn night while reading a classic horror novel with a cup of pumpkin spice coffee. 

Schoolyard Heroes 

During their short tenure as a band, Schoolyard Heroes released three exceptional horror-punk albums that toe the line between riot grrrl punk and hardcore to pop punk, with sugar-sweet choruses that tackle topics of the occult, macabre and the undead. The band’s breakthrough song “Dawn Of The Dead” showcases their intense and frenetic instrumentation, coupled with the sheer power and versatility of frontwoman Ryann Donnelly’s voice, which adds a sense of melody and catchiness through the darkness. Schoolyard Heroes’ music, while serious at its core, manages to be quite tongue in cheek with the lyricism, demonstrated brilliantly in songs such as “The Plastic Surgery Hall Of Fame,” “Blood-Spattered Sundress” and “Cemetery Girls.” 

Wednesday 13

Joseph Poole, better known as Wednesday 13, is a musician who lives and breathes horror. Initially coming to prominence as the frontman of the musical duo Murderdolls alongside former Slipknot drummer Joey Jordison, Wednesday 13 has carved out an impressive niche as a solo artist within the horror-punk and heavy-metal communities. From chilling synth lines to dark lyrics that contain classic horror references, Wednesday 13 is a logical choice for any Halloween playlist or a trip through a haunted house.

The Haxans 

The Haxans are a goth-pop duo consisting of New Years Day frontwoman Ash Costello (vocals) and Piggy D, the longtime bassist of horror-rock icon Rob Zombie. The band’s moniker is derived from the witchcraft-centered 1920s silent horror film Haxan, which couldn’t be a more fitting name considering the duo’s commitment to all things dark and the occult. With their unique blend of darkwave and industrial music, the Haxans’ are the perfect soundtrack for a black-clad night out on the town.

HorrorPops

Danish psychobilly group HorrorPops have been a staple in the horror-punk scene since the mid-1990s due to their energetic and captivating live shows and the undeniable star power of frontwoman and stand-up bass player Patricia Day. HorrorPops only released three studio albums before going on hiatus nearly a decade ago but have been playing more shows in honor of their anniversary, including When We Were Young. Queue up classic tunes such as “Walk Like A Zombie” and “Freaks In Uniforms” to get you amped for a wild and rowdy Halloween.

Twin Temple

Twin Temple are a Satanic doo-wop duo — yes, you read right that — who play a classic ‘50s-inspired blend of ritualistic rock ‘n’ roll. The band truly shine when it comes to writing love songs dedicated to Lucifer (case in point: the infectious track “Lucifer, My Love”) but also cover a great deal of social commentary with their music. Twin Temple’s powerhouse frontwoman Alexandra James’ voice is beautifully reminiscent of Amy Winehouse, and the humble duo have not only captivated audiences while touring alongside major rock acts such as Ghost but have also managed to piss off several far-right conservative groups along the way by being entirely themselves.

The Cramps 

With songs such as “I Was A Teenage Werewolf” and “The Creature from the Black Leather Lagoon,” the Cramps have been instrumental in forming the horror-punk genre we know and love today. Formed by the late Lux Interior and his wife Poison Ivy, the Cramps stood out due to their spooky imagery, lyrics and Interior’s howling vocal style. The Cramps have been cited as key influences on major artists such as AFI and Tiger Army, with an impact in the same vein as Misfits.

Alkaline Trio 

While punk mainstays Alkaline Trio have covered a significant amount of sonic avenues through their 25-year career, they’ve undoubtedly embodied the spirit of horror punk with the holy trinity of their three most beloved records — From Here to Infirmary, Good Mourning and Crimson. Notable tracks include “Mr. Chainsaw,” “We’ve Had Enough” and “Sadie,” the latter of which was written and named after one of the key members of Charles Manson’s murderous cult.

T.S.O.L. 

T.S.O.L. have always been known for their provocative and polarizing lyrics that border on disturbing and flat-out gross. However, they have carved out a unique niche within the horror-punk genre that has lasted since the late ‘70s. Upon first listening to the band’s classic song “Code Blue,” the lyrics, which detail a fictitious account of necrophilia, are certainly not for the faint of heart. Once you understand the metaphors in place, however, the band’s music is hard to ignore and makes for an unsettling but unforgettable listening experience.

Type O Negative 

Type O Negative frontman and chief songwriter Peter Steele was an unforgettable presence in the ’90s goth and metal scene through his dark, risque lyricism, evocative music and looking like a buffed-out version of Dracula. Steele sadly passed away in 2010, but Type O Negative left behind a legacy of spooktacular goth-metal classics that are the perfect soundtrack for any Halloween festivities. That includes “Black No. 1 (Little Miss Scare-All),” a fan-favorite track that tells the tale of a love gone awry on All Hallows Eve.

Long before her days as a restauranteur, Daking was the co-vocalist and guitarist for the acclaimed Southern California punk group F-Minus. The band released several beloved albums for the legendary Hellcat Records, which was founded by Rancid’s Tim Armstrong. From the time Daking joined the band at the age of 17, she was a force to be reckoned with, thanks to her visceral vocal style and transparent lyrics. During the band’s career, spanning the mid-‘90s to the early 2000s, she toured the world alongside classic punk acts including AFI, H2O, Tiger Army and Strike Anywhere. When the group disbanded in 2004, Daking knew it was time to make the pivot from punk rocker to chef extraordinaire. 

Read more: How Tara Punzone created a vegan Italian empire with Pura Vita

Opening in 2014 in the eccentric neighborhood of Highland Park, Kitchen Mouse has become a flagship staple on the iconic stretch of Figueroa Street that draws a diverse crowd from local Angelinos to musicians and creatives, with a robust celebrity presence in the entertainment industry. It’s no coincidence that fellow vegan and music superstar Billie Eilish is known to frequent the chic and minimalistic cafe regularly.

Offering an abundance of vegetarian and vegan-friendly food items, ranging from snickerdoodle pancakes to chilaquiles, Kitchen Mouse shows that health-conscious food can be delicious and accessible to people of all diets. While Daking has since hung up her guitar and left the stage, she’s certainly still immersed in the scene she came from, albeit through a different avenue. Daking has created a friendly and inviting atmosphere with her restaurant, which has allowed Kitchen Mouse to curate meaningful experiences and shape the community around it. 

Correct me if I’m wrong, but did Kitchen Mouse initially start out as a catering operation? 

Yeah, it all happened really fast for me. I decided to go to culinary school when I was playing in bands at the time. I had just started bouncing around working at different restaurants, doing private chef work and really just figuring out where I wanted to land. However, I was almost certain that I didn’t want to have a restaurant. My husband was on tour at the time and met someone backstage who was a producer, and she ended up calling me to cater a photoshoot. I didn’t know how to do that, but I figured it out, and it went really well. I specifically started catering photo shoots, and it took off so quickly that it became very clear that I needed to get out of my house and into a kitchen.

At what point did you end up in the building Kitchen Mouse currently occupies in Highland Park? 

The space was an empty, old check-cashing space. I went to look at the space, and it was so cheap at the time, but the landlord said, “I do nothing, and you have to pay for everything,” so I came in and did a bare-bones buildout on the kitchen. This was initially just to get the catering out of my house, but I learned that when you rent a storefront with a kitchen, you actually have to open the front of the house with a retail food permit. I had a set designer from one of the photo shoots I was on give me advice on how to do the tables, and when we opened, it took off. It was a wild time, and I had my first kid three weeks after we opened. 

[Photo by Chelsea Rose]

With Kitchen Mouse opening in 2014, I feel like you were super early on the Highland Park hype train that has now exploded with so many amazing restaurants and small businesses popping up. 

Back then, it was really possible for independent business owners to rent a space. Now, you can’t come to Figueroa Street without money to pay for the rent as it’s a totally different game now. I already lived in the neighborhood, so it didn’t feel unfamiliar to me. 

What do you think makes Highland Park such a special community? 

I love that it feels like a small town. I grew up in New York, and all of the neighborhoods are just like this. There’s a train that runs through town, a main street and a lot of independently run businesses. There are not many chain stores here, and this neighborhood just has so much heart and soul. There are so many communities and experiences to have right here.

[Photo by Chelsea Rose]

Switching gears, I want to go back in time and discuss your stint as one of the guitarists and vocalists of F-Minus. Obviously, the band are beloved within the punk and hardcore communities. With you being from New York and the band being based in Southern California, how did you end up joining? 

I moved to Boston when I was 17 years old because I skipped a year of high school to go to college there. I met the other singer of F-Minus, Brad Logan, outside of CBGB in New York, and I played him the demo of my band at the time. He called me one day after that and asked me if I wanted to move to California and join his band, so I flew from Boston to Los Angeles at 17 years old to meet up with him. He was living with Tim Armstrong and Brody Dalle [The Distillers] at the time, and I moved into their house for two weeks which was when we made that first record. It was such a crazy and surreal experience. It’s funny because when we went to our first practice before going into the studio, I had never actually played with him before — it was just a really big leap of faith on his part. I got along really well with everyone, and we ended up doing the band for six years together.

Even while touring extensively with the band, did you always have a love for food and cooking? 

I’ve always been really into food and cooking. My parents were both musicians who were also really into cooking. Growing up in New York, they were really into going to restaurants and trying new food, and we always had professional cooking equipment in our kitchen at home. My mom had a bakery at one point. My mom catered parties, and at one point my parents owned a recording studio where they would cook for all of the bands who came in. One of my first jobs out of culinary school was actually at a recording studio, as well as cooking food for the bands. It was at Shangri-La out in Malibu at Rick Rubin’s studio. It was a wonderful experience. 

Have you noticed any correlation between touring in a band and running a restaurant? 

Absolutely, it’s a bunch of people being shoved into tight quarters working together. Not to mention the fact that so many of the people who work here are ex-musicians or current musicians who have a job. When you’re in a band, so little of it is actually about the music, and when you own a restaurant, so little of it is about the food. There are so many other things going on.

There seems to be a really strong musician clientele that supports the restaurant as well. Is there anyone you would like to shout out?

Kate Nash comes all the time. Billie Eilish is a regular and still gives us so much love and support with our catering as well. Lots of punk bands come through and just so many interesting people come through the doors, which excites us all. 

[Photo by Chelsea Rose]

With Kitchen Mouse being a vegetarian and primarily vegan-leaning restaurant, what went into developing the menu? Are you a vegetarian yourself? 

I am actually not anything. I don’t limit myself in any way, but I do mostly eat vegetarian. On my first tour at 18 with H2O, I always remember Toby Morse opening his suitcase that was filled with vegan hot dogs. I was a vegetarian all throughout my 20s. We toured with AFI and all of these bands who were vegan, so I was always going to vegan restaurants. I have always wanted to go against the grain and cater to an underserved market that needs more options. Once I got into the food industry and saw the volume of food, I knew I would rather keep it as plant-based as possible for my own conscience. It’s such a fun opportunity to expose so many different people to delicious vegetarian and vegan food. I like the challenge and creativity that comes with making really delicious food without dairy or meat and minimizing our impact on those areas. 

What are some of your favorite items on the menu?

I go through phases where I come up with something and eat it a lot, but then I get totally burnt out on it, just like a song. Every now and then I go back and eat things I haven’t tried in years like the original Moros Cakes, Gomasio Cakes and the TLT [tempeh, lettuce, tomato]. 

[Photo by Chelsea Rose]

What does the future hold for Kitchen Mouse? 

We’re doing a walk-up window location in Mount Washington. It’s going to be a mini version of Kitchen Mouse with coffee, baked goods, breakfast items and to-go foods. It’s all about being easy, quick, small and cute, all while servicing a different community. We’re really excited about it. If we’re able to succeed in these little spaces, we’re definitely looking to expand into more micro-retail spots around town. 

F-Minus disbanded 18 years ago. Obviously, you have taken a considerable amount of time off from performing, but have you wanted to dive back into music again? 

I haven’t begun to dive back into it again, but I will say that I think about it more. If and when I decide to do it again, and the further I get away from it where it’s just this distant memory, I’m more and more grateful that I even had the opportunity to travel and make music. Getting to do the band was such a special opportunity, and I still have so many friends from those days.