Upcoming Shows
See All-
10.3.2026San Diego, CASocial Distortion
-
10.3.2026San Diego, CAPetco Park
-
10.3.2026Sacramento, CAAftershock Festival
-
10.3.2026Sacramento, CAAftershock Festival
-
10.3.2026Sacramento, CAAftershock 2026
Listen
YouTubeFeatured Video
YouTubeFeatured Video
YouTubeFeatured Artist
See All
Converge
You feel it before you hear it. When you hear it, you can’t un-hear it. A low, persistent noise throbbing in the background. Scientists say it registers between 30 and 40 hertz. It’s been heard in Ipswich, Massachusetts. Auckland, New Zealand. Windsor, Ontario. It’s been haunting the population of Taos, New Mexico, for decades. It’s been linked to suicides in the UK. Not everyone can hear it. No one knows where it’s coming from. They call it The Hum. Converge have taken this mysterious real-world phenomenon and re-imagined it as a physical manifestation of human suffering. “What if the Hum is the culmination of all the pain in the world creating an audible hum across the universe?” vocalist and lyricist Jacob Bannon posits. “Something noticeable to others operating on a similar frequency.” Hum of Hurt follows Love Is Not Enough as Converge’s second full-length release of 2026. Like its predecessor, the album presents a bleak but empathetic assessment of the human condition and its ongoing deterioration. Unlike Love Is Not Enough, the songs are rawer and more exposed. “When we got together to write, we ended up with a lot of material,” Bannon says. “We realized it was two separate albums.” Hum of Hurt is a different record than Love is Not Enough, but just as volatile and potent. “It’s not part two,” Bannon points out. “The only unifying thing we talked about when we started working on this entire project was, ‘Let’s make a noise rock record.’ But we never really did. The first one isn’t a noise rock record. This one has moments, maybe, but it’s not a noise rock record either. It feels more like an emotional hardcore record than the first one, which is probably more metal leaning. Really, we just gave birth to another Converge record.” Opener “Slip the Noose” kicks off with a furious cannonade from drummer Ben Koller before launching into the kind of short, grinding frenzy that wouldn’t feel out of place on Jane Doe. “Doom in Bloom” is raw and bloody, as guitarist Kurt Ballou’s spiky riffs scrape against Nate Newton’s bass and Koller’s drums. You can practically hear Bannon’s throat getting sore. “It’s just fucking dark and right at you,” he says of the track. “Lyrically, I’m talking about how middle-aged introspection doesn’t always bring light. Maturity doesn’t heal wounds.” “Dream Debris” is a gripping, doomy epic born out of a single note that builds to a booming crescendo. “It’s got a lot of twists and turns but it’s dense and heavy and really simple, and that was by design,” Bannon says. “When we were working on it, we were saying, ‘Does it need anything else?’ We decided it didn’t because it’s just so fucking heavy.” Lyrically, “Dream Debris” has at least one line that will ring in the heads of listeners everywhere: There’s nothing to win if there’s no one to lose. “I go on a bit of a rant in this song,” Bannon says. “But the idea is that passion withers, and only the broken and beaten and worn out will stay in places of discomfort because they have nowhere else to go.” Then there’s the title track, which is one of the most propulsive and metallic songs on the record. Thematically, Bannon examines the prices we pay for the lives we pursue. “I’ve given 35 years of my life to creating art and music in some way,” he says. “There’re parts of that I really cherish, and I appreciate the home and support structure this community has given me. But I’ve also been shackled to this for 35 years. I don’t do anything else. In a way, I’m not the man I want to be. I want to work on my deficiencies, and this is me acknowledging that.” The album also features a new rendition of “I Won’t Let You Go,” the original version of which was recorded for the 2020 video game Cyberpunk 2077. “When we recorded that years ago, Ben did the drums in California and then we put it all together here,” Bannon explains. “It didn’t have that room energy that happens when we’re all together. This version is demented and wild and a really uncomfortable listen. It feels right.” Hum of Hurt was recorded and mixed by Kurt Ballou at God City in Salem, Massachusetts, with engineering assistance from Zach Weeks. Bannon and renowned UK artist Thomas Hooper collaborated on the album artwork. “These are songs about working through hurt, through pain, both emotional and physical,” Bannon says. “That’s a very real psychological energy that we all experience. If I’m feeling that, maybe I’m resonating something that is being felt by others. Even if I try to mask it, it’s still there. Maybe the hum is everybody that’s operating on that frequency. We’re all feeling something.”
Featured Video
YouTubeFeatured Artist
See All
poptropicaslutz!
poptropicaslutz! wants to make sure music never sounds stale. The Long Island duo of Nick Crawford and Christian Cicilia break all the rules of taste and tangibility, blending elements of the music they grew up on in the 00s: shiny and slick pop rap, sheen and hook-filled Top 40 pop, angst-filled and direct emo pop punk, and other genres to create a kaleidoscope of sound that refuses to be categorized. Rising to fame off a few viral TikToks, the group has parlayed this success into a devoted cult following that has helped them achieve over 50 Million+ Streams in a short amount of time. Songs such as sleek emo pop punk-inspired “Hollywood High” (5 Million Streams) felt like a loving tribute to the Hot Topic era, while other hits like “Grandma Got Run Over By A Lawnmower” (4 Million+ streams) exudes teen angst baked in irony, underscored by a sound more akin to the Hyperpop boom of anguished songwriters such as Glaive and blackwinterwells. The duo has become synonymous for their raucous live shows, making them a must-see act on the east coast. With praise from New Noise Magazine and Ones To Watch, along with earning the distinction of “the future of pop” by Rolling Stone UK, the band has turned heads on and off the internet. With their new album, ‘the new 925’, the group once again reinvents themselves, dialing down the aggression and focusing on layering as many hooks as possible into music that reflects their lives in Southern California today. The album acts as a voyeur into the lives of the group, leading to their most honest and revealing work yet. Growing up in Long Island, childhood friends Nick Crawford and Christian Cicilia always had an interest in music. Raised off the eclectic and transformative iPod and LimeWire days, their ability to access any music they wanted influenced their early instrumental experimentations. But for Crawford, it was witnessing the showmanship and command of Kanye West on his famous Saint Pablo tour that solidified music was the only path. Cicilia had a different tune. Although music called to him, he had an acceptance letter from Cornell, an academic scholarship to St. John’s lined up, and pressure to go the school route over the impossible dream. Then, the world stopped. The pandemic allowed Crawford and Cicilia time to work on their chops, along with releasing songs to the public to gauge interest. Some of their early songs began to gain traction on SoundCloud, leading to an invitation to work in the studio with producer Dan Hartzog (6 dogs, sofaygo, and skaiwater), and collaborator Grandma (ericdoa, Willow, the Hellp). But a viral TikTok where the duo showed off their vivacious charisma, along with producing candy-coated sticky hooks that harkened back to the pop-punk takeover of the early 00s, was the sign they needed to pursue the dream. Nick dropped out of community college; Christian rejected the offer from Cornell; from here on, they were betting all their chips on poptropicaslutz! Success soon followed, viral moments playing live in New York City gave way to a flurry of singles that captured the New York DIY venue scene. “Our first show in New York, people had tattoos of us,” the band said. “They wanted our signatures and attention. Girls were chasing us down. It made us realize that we had a dedicated fanbase that made us bigger than we thought.” Tracks such as the angst filled ode to the music of the late 00s “I Miss 2007,” and the sneering earworm “bad habit (dramatic!),” gained them further recognition, becoming a torch bearer for a generation who grew up on classic Blink-182 and Jimmy Eat World. Their subsequent projects, EP just in case the world ends and debut album face for the radio/voice for a silent film, proved they could craft complete bodies of work, switching between the guitar filled angst they rose to prominence with and the contemporary hyperpop boom, mixed with warbled SoundCloud rap. But on their latest album, ‘the new 925,’ poptropicaslutz! ushers in a new era of creative freedom and expression. “We made the conscious decision to kill the old poptropicaslutz,” the band said. “But there's certain vibes and deliveries on the new project that’s reminiscent of our old music. We’re just bouncing between genres because we have so many influences. We don’t conform to genre, and I know a lot of people love us for that.” Songs such as the electric-laden party anthem “tryna get that kate moss,” captures the essence of debaucherous nights that go on far too long, fitting in with the current indie sleaze and club revival Gen Z has ushered in New York. While other tracks like “house on the beach” feels like a 3 A.M. night drive on the Pacific Coast Highway, the band takes a more liminal and atmospheric approach. On “RFSB” they take the listener on a pop song trope expedition, layering hooks and stuffing as many slick sing-along lines as possible for an irresistible earworm. With, ‘the new 925’, poptropicaslutz! become fully formed as a band, wearing their influences on their sleeve with love and care but twisting it to fit their sound. With the band finally embarking on the dream life they felt was always destined, their new album is a tour de force of rock, pop and rap: leading to a project that puts them at the forefront of Gen Z’s experimental Hip-Hop infused, SoundCloud sleaze scene.