HOUSE OF HARM

Over the past several years, Boston, MA’s House of Harm have settled into their own corner of the underground, one defined as much by restraint as release. Since forming in 2018, the band has built a steady following the old-fashioned way: a run of early EPs that traveled far online, a constant presence on the road, and a sound that draws from C86 jangle, early 4AD atmosphere, and the taut edges of post punk revivalism.

Their debut Vicious Pastimes (2020, Avant! Records) sharpened that identity into focus, ten tracks that balanced icy textures with an undercurrent of melody, landing somewhere between The Chameleons’ widescreen melancholy and Interpol’s clipped urgency. It was a record that understood tension not as something to resolve, but to sit inside.

Michael Rocheford, Tyler Kershaw, and Cooper Leardi have since carried that sensibility onto the stage, building a consistent touring presence across the US, UK, and Europe, sharing bills with Twin Tribes, The Chameleons, She Wants Revenge, She Past Away, Lust For Youth, Editors, and Reeves Gabrels of The Cure.

In 2024, they released their sophomore LP Playground, a confident expansion of their palette that pushed further into studio detail while retaining the emotional directness that has defined their work since the beginning. Singles like “Roseglass” and “Two Kinds” widened the frame without breaking it, hinting at a band refining rather than reinventing its language.

In 2025, the band completed an extensive headline tour across the United States and Canada, further solidifying their North American audience. Alongside that run, they continued to appear at numerous indie and alternative festivals across both the US and Europe, steadily expanding their reach within the international post punk and darkwave circuit.

In April 2026, House of Harm supported She Wants Revenge at a sold out Wiltern in Los Angeles, a milestone performance that marked one of their highest-profile US appearances to date.