A candid, reflective episode about releasing music, facing criticism, and growing past easy cruelty.
The review finds its shape in a conversation about what happens once a song leaves the artist's hands and starts gathering responses of its own.

Heavy music talk with scene memory.
Getting It Out pairs rambling music-first monologues with long-form conversations about heavy underground scenes. Recent episodes move from Elder fan reactions and Lantlos sound shifts to old hardcore attitudes, record-shop memories, and the weird work of keeping bands alive.
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Getting It Out is a hardcore, punk, and metal interview show with its boots firmly in the underground. It sounds informal because the conversations are informal, but the knowledge underneath is serious. Recent episodes use bands and records as entry points into the work behind the noise. Elder becomes a chance to talk about fan reactions, internet criticism, and the strange vulnerability of releasing something people may instantly judge. The Crosses brings out stories about miserable practice schedules, old band history, and why some projects return because other people still believe in them. Lantlos opens a path into label relationships, street-team culture, sound shifts, Deftones, My Bloody Valentine, and the idea of influence as ethos rather than imitation. Bitter Branches turns toward pandemic-era writing, DIY recording, local record stores, garage shows, and how a new LP can feel different while still making sense. WarxGames carries the show into fast hardcore, old scene attitudes, microphone bravado, and the awkwardness of looking back at what once felt fearless. The show is not polished in a sterile way. That is part of the point. Cold opens wander through songs, labels, Bandcamp finds, old favorites, personal memories, and stray jokes before the interview lands. The pacing can feel crowded. The curiosity keeps it from becoming empty chatter. Guests get space to explain how bands started, why they changed, and what still feels unresolved. The host is willing to laugh at earlier opinions, press into scene history, and admit when taste has aged. That self-correction gives the show some warmth. It is still blunt. It still loves a good digression. The best moments feel like hanging around after a show while someone connects records, bands, and one bad practice-room memory into a single story. Getting It Out is especially strong on process: writing songs, releasing records, keeping labels involved, getting people into rooms, and surviving the parts of music that are less glamorous than the songs. It is for listeners who want the human debris around heavy music left intact. The ads and support plugs are there, but the core appeal is the scene memory. This is heavy music conversation with scars, jokes, and receipts.
Made for: For hardcore, metal, punk, and heavy underground listeners who want more than release announcements. It especially suits people who enjoy band-history tangents, record-label context, and candid talk about making loud music.
What sets it apart: Getting It Out stands apart by letting interviews breathe through memory, humor, regret, and scene detail. It treats practice rooms, street teams, record stores, fan comments, and sound shifts as part of the same story as the music.
A weekly podcast featuring interviews with the best in hardcore, metal and punk rock. Support this show http://supporter.acast.com/getting-it-out. Hosted on Acast. See acast.com/privacy for more information.
Based on 6 episodes we listened to · September 2026
Getting It Out connects underground records to the candid decisions, doubts, and practical work behind their release.
Getting It Out follows underground music through the people making, releasing, and sustaining it. The host frames interviews with personal listening notes and tracks from bands on his radar, then asks guests about the decisions behind the work.
Fifty tapes sell out in a weekend, and suddenly you care who decides whether to press more.
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Short reviews from the PlayNext desk, based on the episodes we processed.
A candid, reflective episode about releasing music, facing criticism, and growing past easy cruelty.
The review finds its shape in a conversation about what happens once a song leaves the artist's hands and starts gathering responses of its own.
A grounded rehearsal-room episode about The Crosses returning through early practices, old speed, and a machine shop upstairs.
Getting It Out is strongest when it stays close to the physical process of bringing The Crosses back into motion. Jim's memory of the earlier band, Duane's fit on drums, and the realization that more than one person still wanted this music to exist all give the episode a clear…
A reflective Lantlos episode about label trust, shifting sound, and the influences around the project.
Getting It Out's Lantlos episode looks at musical identity as something built through restless listening, label trust, and a comfort with letting sound move.
A loose, memory-driven conversation about pandemic-era songs and Bitter Branches moving into a new shape.
Bitter Branches comes through in a conversation about songs written after the pandemic knocked time sideways. The band look back on a period of messing around, then finding a metal shop where they could finally play loudly again, and that restless setting helps explain why the…
A hardcore singer revisits gatekeeping, a microphone-fueled insult, and the long afterlife of saying it out loud.
A hardcore singer returns to an old argument about taste, attitude, and what a microphone can make permanent. He remembers leaning toward fast hardcore, with The Necros, S.O.A., Heresy, and Ripcord as reference points, while admitting he once had a stick up his ass about keeping…
A practical, relationship-minded look at how Delayed Gratification Records thinks through demand, timing, and represses.
A record label spotlight turns into a grounded look at how small physical releases stay alive after the first run. Vladimir Nechovsky talks through Delayed Gratification Records, from pandemic-era releases and fast tape sellouts to bands taking records on tour and the judgment…
A candid, reflective conversation about making a record that refuses to fit the shape of the ones before it.
Romeo's conversation circles the hard part of finishing work that does not quite behave like what came before. He talks through the long uncertainty around Love Letter, a record he struggled to imagine onstage, and the small signals from the pressing and layout process that…


Joe Wong interviews drummers and musicians about craft, history, and the working musician's life.

Lij Shaw interviews producers and engineers about mic technique, mixing, and studio business.
Ian Shepherd and working mastering engineers dig into Atmos, loudness wars, and vinyl cutting.

Co-hosts Ed Thorne and Paul Third dissect mixing, mastering, and studio gear with working engineers.

An interview with Carter Holmes about his record label From Within Records.
A brief message encouraging listeners to support the podcast via Acast's supporter feature.
The host discusses the importance of a powerful introduction, using Crossfade's song 'Cold' as an example, before beginning a countdown of the top 25 songs of 2025.
Host interviews Vladimir Necovski, founder of Delayed Gratification Records, a hardcore label based in Ohio.
Host Dan opens with a personal story about learning to juggle at 40 to annoy his cats.
["Getting It Out interviews Nick DeSalvo of Elder about Through Zero, the band's seventh album, due May 29.", "DeSalvo says the six-song record includes a nine-minute title track and some of Elder's most mellow material, along with a very upbeat song called Capture and Release.", "He says the band keeps outside jobs, including his work at Stickman Records, because touring is fragile and independent labels still matter to him.", "The conversation also covers the Tool tour, the fear of playing Madison Square Garden, Adam Hill's cover art, and DeSalvo's Massachusetts hardcore background."]
Getting It Out talks with Dan Kabinsky about The Crosses, a project that grew out of DeKreutzen's breakup and 2013 reunion shows.
["Getting It Out frames Marcus Skye's Latlos record Nothing In Between Forever with Corrosion of Conformity's 'Give Me Some More' and a release on Prophecy Productions.", "Skye says Latlos drew interest from the first demo, then moved from a blackgaze era into a brighter, shorter, more song-focused sound.", "He links that shift to chronic DPDR, or derealization and depersonalization, and describes the new album as a bright model of utopia with Windows XP imagery.", "He also says the five-year gap since Melting Sun, a regular day job, and his discomfort with live performance are pushing him toward smaller releases and studio work."]
This episode is a brief request for listener support via ACAST, with no substantive content.
A brief message encouraging listeners to support the podcast via ACAST.
Jeff Tirabassi and Matt Ryan discuss how Bitter Branches moved from a more "verbal assault" early sound to the tighter, "anchored rhythm centric bass" approach on "Let's Give the Land Back to the Animals." The album was tracked at J.
Tony Pence traces Getting It Out's conversation back to Perry Hall, AC/DC's "Back in Black," and a first concert with Fastway at the Capitol Centre in 1985.
An interview with Carter Holmes about his work with From Within Records.
A podcast episode promoting a new split release from Baltimore's Sinister Feeling and LA's Bloodstained Concrete on Delayed Gratification Records.