Lost in Maine, found in the pit.

STAB’s Lost In Maine feels like a melodic hardcore record that knows exactly what it wants to be without trying too hard to prove it. Formed in Maine in 2025, the band features vocalist Nik Coggins, guitarists Joe Bradshaw and Matt March, bassist Griffin Kronemer, and drummer Jeremy Breau. Their sound pulls from melodic hardcore, punk, post-hardcore, and some early-2000s emo and pop-punk, but the New England hardcore scene is clearly the foundation underneath everything. The result is emotional without becoming overly polished, aggressive without relying entirely on breakdowns, and melodic without losing its edge.

“Long Live” sets the mood immediately with distant guitars, drums, and a low buzzing bass that slowly builds underneath the vocals. It isn't an explosive opening, but it doesn't need to be. There is a sense of loneliness and reflection hanging over the song that gives the album an emotional starting point. My biggest issue is that some of the vocals get buried beneath the instrumentation, which is frustrating because Coggins puts genuine feeling into the performance. Still, the atmosphere works.

“New England Numb” is where the record really starts to hit its stride. The guitars become more defined, the drums open up, and the chorus has that instant sing-along quality that melodic hardcore does so well. Mat Kerekes of Citizen adds another melodic voice, but the feature doesn't overshadow the songwriting. The track feels appropriately cold and isolated while still carrying enough energy to make it work in a packed room.

That balance continues through “Casco St,” where heavier guitar strums and bouncing drums meet rough vocals and strong backing parts. There are hints of bands like Title Fight and Fiddlehead throughout the record, but STAB don't sound like they're simply trying to recreate either band's formula. They take those melodic instincts and put them inside a more straightforward hardcore framework. The result feels familiar without becoming completely predictable.

“Nuit” is probably the biggest change in atmosphere, stripping things back with acoustic guitar and more distant vocals. It brings out the softer side of the band without making the record feel like it suddenly belongs to a different group. There's still enough grit in the vocal delivery to keep the song connected to STAB's hardcore roots. It also gives the heavier songs around it more impact because the album understands the value of contrast.

Then “V,” featuring Josh Hynes of Recollection, brings some of that aggression back. The bass sits heavier, the drums hit harder, and the vocal combination gives the track a little more bite. Hynes fits naturally into the song rather than feeling like a guest appearance added just for the name. That chemistry is important because STAB's best moments come when the different sides of their sound are working together instead of competing.

“Rinse” settles somewhere between the melodic and heavier sides of the record, using slower guitar movement, deep bass, and backing vocals to create something that feels both tough and sentimental. “Irish Goodbye” then closes things out with sharper drums, raspy vocals, and enough melody to keep it from becoming another generic hardcore finale. It feels more like an ending than a final attempt to blow everything up, which suits the album.

The guitars are one of the biggest strengths throughout Lost In Maine. There are ringing chords, heavier low-end parts, cleaner passages, and acoustic sections, giving the record enough variation without making it feel unfocused. The rhythm section is similarly effective. The drums aren't trying to show off, but they know when to push a chorus, when to slow down, and when to leave space. The bass gives the heavier material plenty of weight while helping the softer songs maintain some body.

Coggins' vocals are another important part of the band's identity. His naturally rough delivery keeps the melodic material connected to hardcore, and he doesn't sound like he's forcing himself into either side of the genre. The main weakness is the mix. Some of the lead and backing vocals could be brought further forward, especially on “Long Live,” because the emotional side of the writing is important enough that losing parts of the vocals takes away from the impact.

The production otherwise works in STAB's favor. It isn't overly polished, which helps maintain that local-scene feeling, and the guitars retain enough roughness to keep everything from sounding like generic alternative rock. More importantly, the record doesn't feel like a collection of influences. You can hear pieces of melodic hardcore, punk, emo, and post-hardcore, but STAB have already started turning those influences into something that feels personal.

That's what makes Lost In Maine work for me.

The album feels connected to Maine and New England without turning that identity into a gimmick. There is a constant feeling of isolation, memory, relationships, and loss running underneath the songs, but STAB don't spend the entire record wallowing in it. The heavier moments keep things moving, while the softer sections give the emotion somewhere to breathe.

There are still areas where the band can grow. Some structures stay within familiar melodic-hardcore territory, and the vocal production could be more consistent. But those are relatively small problems compared with how quickly STAB have established a recognizable sound.

For a band that only formed in 2025, Lost In Maine feels surprisingly confident. “New England Numb” has the big chorus, “Casco St” has the hardcore energy, “Nuit” shows they can pull everything back, “V” brings the aggression, and “Irish Goodbye” leaves the record on a fitting note.

STAB aren't reinventing melodic hardcore here, and they don't need to.

They're taking the sounds they clearly grew up around, mixing them with their own experiences, and making something that feels genuine.

Lost In Maine is melodic without becoming soft, emotional without becoming overly dramatic, and heavy without constantly needing to prove how heavy it is.

Lost in Maine, but definitely not lost musically.