#the best modern post-punk/industrial band

[testure-1988]

Finally got an Agent Side Grinder shirt

[literaryxbones]

Goth History-Episode 1: Brand New Series!

Today I am starting a brand new series on my @literaryxbones blog. As a history buff, 80's enthusiast, and aspiring author, I decided to focus on the formation and evolution of goth.

Most subculture blogs focus on the makeup, fashion, and music; while I'll cover these aspects too I want to pivot towards focusing on the past. It's not something I've seen a lot of people do on here. Archiving our scene is important and there's a lot that can be learned from remembering and preserving it.

General Overview

The goth subculture is centered around its distinctive, bleak, and poetic music. It's emergence has almost no relation to the Germanic Tribes or the medieval architectural period of the same name. Rather, it is a scene swayed by its sound. Music is the priority. Fashion, overlapping interests, and politics are second in line. That is precisely why I'll be overviewing the humble beginnings of gothic genres.

During the rise of punk in the 1970's, post-punk was born. Despite the similar-sounding names, these two styles are sonically different. Post-punk sought to break free of established cliches; combining low-toned bass with funk, synth, and disco elements. A common misconception is that Post-punk came AFTER punk, when it was really created at the same time. The name really doesn't cement that idea. Post-punk musicians, while all different, possessed some similarities. They strove for independence. DIY, upcycling, creative multimedia, and indie record labels signaled a divergence from mainstream industries, consumerism, and conformity. What separated them from the punk scene was their lesser emphasis on politics and innovative new sound.

Siouxsie and the Banshees, Soft Cell, Joy Division, The Cure, and The Talking Heads pioneered the 1980's. Each of them set a precedent for what "pop music" became.

A band called Bauhaus, fronted by Peter Murphy; was among the first to incorporate "Gothic Rock" in its discography. "Gothic Rock" is best illustrated by its bass and minor tones. Its scales lend to its darker atmosphere, complimenting the melancholic lyrical themes goth music is so well-known for.

Though associated with Post-punk, Gothic Rock branched out into a fully-fleshed genre. As you may have guessed, many macabre concepts were inspired by gothic literature, written during the mid-to-late 1800's. Think Jane Austen or Edgar Allan Poe.

Some of the goth subculture shares their interest in cryptids, horror, oddities, and classic poetry with these long-dead writers. This historical evolution influenced the modern goth subculture, as it is today.

Thank you reading the first installment of my new little series. New episodes will be posted every 3 days, so make sure to check back in every once in a while. If you have any topic you want me to cover please let me know Credits: divider made by @animatedglittergraphics-n-more , written by SORDID from @literaryxbones

[leviathan-supersystem]

Please give specific examples

is this about the late 90's early 00's thing? (how i said the music sucked) yeah i mean i think the boy bands from that era were generally bad, i think britney's early stuff is pretty overrated (toxic was the first really good song from her) and over in what passed for "alternateive" music nu-metal and post-grunge were producing just fucking vile songs about how the singer treats his girlfriend like shit but oooohhhh he's sorry babe, he's not a perfect person, there's many things he wish he didn't do, fucking gag me. awful.

i know there's a lot of nostalgia for the pop in particular but i don't understand it at all, for YEARS that era of pop music put me off pop music entirely, and most modern music. i spent years as a "born in the wrong generation" teen who listened to like 70's/80's punk/goth/post-punk/industrial until in like 2008 tons of good popular music started coming out, lady gaga and kesha and nicki minaj were pumping out total bangers, i'll even defend early katy perry tbh, and also the whole pitchfork hipster music scene was putting out imho the best music of my lifetime, possibly ever. also the rare good stuff that had come out around the late 90's/early 00's which had been completely under the radar and obscure suddenly got huge, specifically neutral milk hotel became a massive cultural phenomenon like 10 years after jeff mangum had been putting out music that had at the time mostly been ignored because people thought limp bizkit was the future of rock music.

[th3-0bjectivist]

Dear listener, every year I run a fine-tooth comb over the internet to discover one ‘new’ type of music that is without a doubt… good batshit. I have long maintained that there are two kinds of bat guano in music: good batshit and bad batshit. If it’s passionate, experimental, entertaining, bizarre, and scares the piss out of modern puritans… that’s nutrient-rich good batshit! If it’s totally derivative of other acts, openly preachy, and flat-out boring all while desperately trying to be edgy… that’s a festering pile of bad batshit. This week, I’m going to expose you to music by Machine Girl. Smash play on the track just above, it’s a music video for their song Ginger Claps on their 2014 album Wlfgrl. If it doesn't freak you out too much, join me down below for more!

In 2024, I've been looking for gym jams. Y'know, utterly chaotic music you can listen to at the gym that makes you work out harder and longer than usual!? I happen to work with a group of young guys, and they always have the weirdest music playing in the workstation area. Being an old man compared to the pups, I often laugh or cringe at their screamo, emo violence and metalcore garbage. In just the last fortnight or so, I was passing through the workstation area and heard a very peculiar and strangely attractive sound. It reminded me of a hybrid between Aphex Twin and KMFDM. So, I memorized the band name, showed up at the gym to sample their tracks, and ended up staying on the treadmill for an extra hour as my ear canals climaxed at this fast-paced new sound. Their tunes made my body move, and how! I basically just started listening to this duo from Long Island, NY, so I'm hardly a subject matter expert, but despite my best efforts, I just can’t stop sampling this eery and tasty batshit! I can plainly state I have not heard a single other musical act that sounds exactly like this, and as of this posting I will declare it to be the most chaotic music I’ve ever installed on my blog. But there is an order to this chaos, as it is fundamentally rooted in the structures and schools of punk, digital hardcore, rave and industrial. Talk about a messy emotional ride; in some instances, their individual tunes are like listening to 10-20 soundscapes mashed into one 3-minute track. Apparently, if you listen to their tunes deep enough, you’ll find themes of gender identity, sexuality and a criticism of capitalism. So, if you’re into those themes, have at it! Me!? I'm just here for the extremely crazy breakbeats and the total experimental experience they have to offer. Just below, you’ll find Necro Culture Vulture from their 2020 album The Ugly Art. Especially if you’re a fitness-inspired gym rat like me these days, try this batshit on for size when you’re on the tread, it’ll all suddenly make sense if it hasn’t already!

This year, this is the most creative and inspiring new-to-my ears music I’ve had the good fortune to stumble across. I commend them for their explosive tracks that rapidly ascend into something akin to an epic score right out of a modern AAA video game. It’s music that literally sounds like it was produced by extraterrestrials from another dimension. Fuck-to-the-yeah! Image source: https://www.revolvermag.com/music/machine-girl-alien-music-duo-spitting-blood-mashing-genres-transcending-self

[frankbedbroken]

frankcore march 2024 update!!

a Lot more guitar music based than last month (this could be bad or good, you be judge) but it's mostly a back and forth between different styles of electronic and assorted flavors of rock and punk, with a few pop and rap outliers here and there. for the electronic chunk of the list, it's mostly composed of (as ever) the more percussion-driven styles of electronic: dreamy and chill breakbeat courtesy of eris drew, uk bass/electro/post-club mutations from little snake (that whole 20/20 ldn comp is solid stuff, still prefer the halftime sound from their earliest releases, but this is nothing to scoff at either), heavy hitting hard (h)drum from ahadadream, priya ragu and skrillex, d.silvestre and company pushing the gnarliest side of funk brasileiro to its more brooding limits, maddeningly catchy garage and uk hip hop crossover presented by kwengface and joy overmono, a whole section of different footwork offerings from sinistarr, heavee, dj clap and anysia kym, two portrayals of modern drum and bass sounds with dbridge presenting his signature minimal ventures, and machinedrum and tinashe bringing one of my favourite liquid dnb / r&b crossovers in a minute, and finally, the return of the french prince of darkness, mr. gesaffelstein, doing a heel-turn from the unsufferable dreck that was his previous album and diving head-first into 80s synth punk / ebm / minimal synth revivalism by way of daf and two lone swordsmen, and it is a much, much more welcome addition to his repertoire.

for the guitar side of the list: yeule's cover of broken social scene, taking the indie rock original and twisting it into an ambient / glitch pop piece, indie pop ventures from casiotone for the painfully alone (instantly recognizable band name, for sure) and alucinaciones en familia (first time there's an uruguayan project on this list! there may be more over the course of the year, my goal this year is to listen to as many albums and eps from local artists as i'm able to), hauntingly pretty and poppy neo-psychedelia bliss by broadcast (i definitely need to get into their stuff as soon as possible, i've really liked the few songs i've heard from them so far), everyone's favourite shoegaze-etc band mbv with a hit from the pre-loveless days, a very of-its-time yet very compelling emo-pop track by further seems forever, a strange yet impossibly interesting and singular blend of screamo, bedroom and twee pop as well as math rock(!) from your arms are my cocoon, and a hard-hitting and emotionally raw final blow by post-hardcore / alt rock project tenemos explosivos, the band behind my favourite album of 2022, whose discography i should definitely dive more into in the future.

as for the rest: the two solitary rap cuts in here, firstly a cut from the most recent schoolboy q project (much like gesaffelstein, a very clear improvement when compared to his last album) and later on, corroded and destructive trap and industrial crossover courtesy of shapednoise and moor mother, two artists very keen on sonic experimentation, delivering a mystifying experience every time; a strangely familiar and comforting blend of 80s synthpop and 90s soul by way of more modern indie production in the nourished by time track, an impeccable piece of electro-disco / synthpop from juliana gattas, vocalist of miranda!, one of the best pop acts from latin america, and produced by alex anwandter, also a name to watch if you're interested in pop from this side of the globe, and finally: kylie minogue with one of the best pop songs of all time, never gets old.

the one non-spotify highlight this time around is volt mix do bruxo by chediak, taking a cut from one of the most boundary-pushing scenes in all of funk brasileiro, the enya-sample-led baile do bruxo by tropa do bruxo, a collective of various mcs and djs spearheaded by ronaldinho of all people, and flipping it into a homage to the earliest forms of funk, more initially inspired by electro and miami bass. it bangs, what can you say

tube it!!

[vipwees]

What are the Popular Music T-shirts in the UK?

Popular music t-shirts in the UK reflect a rich and diverse music culture. Fans feel proud wearing garments that pay homage to their favorite artists and bands. These t-shirts serve as both fashion statements and expressions of musical passion. Let's explore some of the popular t-shirts you're likely to find in the UK:

1. Classic Rock Icons:

Celebrating the music of the Beatles, Stones, Stones, Zeppelin, Queen, and Pink Floyd on a T-shirt is a perennial best seller. The music of these groups is classic; it will appeal to listeners of all ages.

2. Band Logo Tees:

A band t-shirt with a logo is popular among music fans in the UK. Symbols of rock culture include the lightning bolt of AC/DC, the smiley face of Nirvana, and the hammer and sickle of Metallica.

3. Festival Merchandise:

Many devoted listeners attend music festivals like Glastonbury, Reading & Leeds, and Download. Festival-goers will often wear their t-shirts as a symbol of participation.

4. Indie and Alternative Bands:

The independent and alternative music scene in the United Kingdom is robust. Those who are passionate about the Arctic Monkeys, Oasis, Radiohead, and The Libertines should own t-shirts with the bands' logos.

5. Britpop Nostalgia:

Britpop was a seminal musical movement of the 1990s, and its influence can still be heard today. The era's nostalgia is captured on t-shirts showcasing bands like Blur, Oasis, and Pulp.

6. Punk and Post-Punk Revival:

The resurgence of interest in punk and post-punk music is reason number six. You can't go wrong with a tee featuring bands like the Sex Pistols, the Clash, Joy Division, or the Smiths.

7. Political and Protest Tees:

Some music T-shirts in the UK convey political or protest messages. These shirts often tie into songs or albums with powerful social commentary.

8. Album Artwork:

The artwork for an album is a key component in the sale of related items. The Clash's "London Calling" and Pink Floyd's "The Dark Side of the Moon" t-shirts, for example, have become highly sought-after collectibles.

9. Pop Icons:

Pop music has its share of devoted fans. T-shirts featuring pop icons like David Bowie, Prince, Madonna, and Michael Jackson are classic choices for music enthusiasts.

10. Contemporary Artists:

Popular t-shirt designs keep coming out of the modern music industry. Adele, Ed Sheeran, Dua Lipa, and Harry Styles are just a few of the musicians whose merchandising has a devoted following.

11. Hip-Hop Icons:

The United Kingdom is home to many hip-hop fans. Hip-hop icons like Tupac Shakur, The Notorious B.I.G., and Eminem have inspired a craze for merchandise with their names and likenesses on T-shirts.

12. Grime Icons:

Although it began in East London, the grime genre has since gone global. British youngsters love to wear T-shirts showcasing grime artists like Skepta and Stormzy.

In the UK, music t-shirts serve as a concrete connection to the rich history and contemporary vibrancy of the music scene. These shirts not only celebrate the music but also allow fans to wear their passion proudly for all to see.

Visit Us, https://vipwees.co.uk/

Original Source, https://bityl.co/LTZh

[avaliveradio]

7 Must Hear New Rock Songs just Released

Indie rock seems to be coming back around with bands release the hottest new music I’ve heard in years.

What we can expect from this music and the trends in rock music of 2023 are definitely worth exploring.

Emerging Indie Rock Bands

The indie rock scene is currently experiencing an influx of new music with unique sounds and styles. New bands like are taking the industry by storm with rock n roll that holds nothing back.

Listen to what we just added this week to our Playlist..

Modern Day Outlaw - DevilScorned(with Ewar Acosta of They Might be Zombies)

Release date: April 13, 2023 Music Genre: Rock Vibe: Heavy

This song is balls out, we don't care nor make any apologies for who we are. If you plan to play in the Devils game be prepared for whats to come. Link to your streaming page: https://spotify.link/cJR0K6Og9xb

Manners - Hunter? (I Barely Know Her!)

Release date:  Apr 14, 2023 Genre:  Indie Rock, Emo, Alternative Rock Moods: Sad, Energetic Similar artists: Jank, Sports., Mom Jeans

Part of a two-song split, Hunter is about leaving a relationship where you love someone so much, yet they can't truly connect with you on a deeper and more meaningful level. Written and recorded from December to March 2023.

Rachel Mintz -Zoe

Release date: Apr 07, 2023 Genre:  Post-Punk, Pop Punk, 90s Rock Moods: Energetic

Rachel Mintz has a unique vocal, writing and production style that varies relatively wildly yet seamlessly between dream, art and baroque pop to dark synth alternative. Rachel grew up in Miami, FL with a musical family and performed in one of the world's best children's choirs. She went on to lead gritty rock and punk bands (Pigs with Dave Sender of Union 13) which metamorphosed into her more polished solo work accomplished with the help of Grammy winner Ian Cross (Usher, Janet Jackson, Lauryn Hill, Gwen Stefani) as well as Blake Harden (Kanye West, Kendrick Lamar, Travis Scott, Sza), Shane Smith (Dirty Projectors, Los Lobos, Robert Francis) and several other industry pros.

Moses Mikheyev - Whatever You Want (Keeping the Neighbors Awake)

Release date: Mar 24, 2023

Released by: Bad Music Records

Genre: Pop Rock,  Post-grunge, Hard Rock

Similar artists: Imagine Dragons, Anberlin, Blue October, Lifehouse, Papa Roach.

An LA-based alternative rock, hard rock, folk, and pop singer-songwriter.

"This is the fifth song off my debut record, I Only Have a Hundred Years to Love You. It was written as a co-write with the Los Angeles rock band ZAANO.

Reclining Nude - She's So American

Release date: Mar 31, 2023

Genre:  Post-Punk, Indie Rock, Garage Rock

Similar artists: Dehd, Lou Reed, Viagra Boys, Iggy Pop

With a cool punk rock groove and riff guitars, Reclining Nude launched a fun tongue-in-cheek single called “She’s so American”. This single has that all American anthem approach bringing back those wailing guitars of the 80’s incorporating all that’s hot in todays rock stars. On their blistering new single, “She’s so American”, Reclining Nude peels back the packaging of modern life and holds it up to the buzzing fluorescent lights of the neighbourhood bodega.

Lunar Tantrum - Devil mirror dopamine

Release date: Mar 21, 2023

Released by: Lunar Tones

Genre: Classic Rock, Psychedelic Rock, Indie Rock

Lunar Tantrum are a Swedish/Australian rock band founded in Gothenburg, Sweden in late 1991. Richard Reynolds (vocals & rhythm guitar) and Christer Lindbladh (drums) met and started writing and playing songs in Gothenburg, Sweden in the summer of 1991. By winter the same year the group expanded to include Peter Clarin on lead guitar and Torbjörn Antonsson on bass. This line up has remained constant until now although keyboardists Charlie Storm and Matti Ollikainen have both contributed to the band's recordings. Musically the band fuses elements of sixties pop and psychedelia, folk rock, seventies hard rock, progressive rock, garage rock, punk and new wave. The band worked extensively on songwriting, recording and playing live between 1992 and 1998 when they took a lengthy hiatus until 2016.

Missiles to Malta -  Television Music Genre: indie rock / indie pop / power pop Vibe: upbeat, energetic, driving, happy Located in: Bethel, CT Sounds like: Strokes, early 2000s rock

Missiles to Malta is an original four piece indie rock band with post-punk ambitions from Bethel Connecticut.  Devin (guitar / vocals), Steven (guitar), John (drums), and Pete (bass) got together in September of 2021,  and have been blasting their blend of power pop and post punk influences around Connecticut ever since.  They just finished recording their second EP to be released this spring.

You can expect nostalgic details and driving guitars to come out in full glory on Missiles to Malta’s newest power pop single ‘Television’. Their use of radio vocal effects sets an interesting tone midway through the song. The vocalists has a terrific voice well suited for this bands focus and I thought the entire project presented itself with valid attributes. There is an energy here that isn’t over bearing or hard core, rather smooth and refined rock n roll like ‘The Strokes’.

[circuit-music]

2022 Music Recommendations

2022 – What an interesting year. Parts of it felt like maybe, just maybe, there was some progress and rebuilding being made from the fallout of a global pandemic.  Yet there was still that feeling of uncertainty and something else I can’t quite put my finger on.  A friend of mine said earlier in the year “I liked listening to music before my anxiety ruined it for me!”.  That elicited a mild chuckle, but sure, I get it - It’s a weird time. Events and life moving in multiple directions with music so often in parallel to that

Observations and listening habits: • Techno-ebm still ruling the majority of what I listen to and purchase.  In that genre, enjoyed the new releases from General Dynamics, Comfort Cure, Konkurs, GBxCL, Maedon, Yansyet, and Damaged Clock amongst others, • That new beat/Italo/future-synth sound had some absolute bangers. Pablo Bozzi remains such a skilled and incredible talent.  His own solo material and his collab with Hayden of Phase Fatale as Soft Crash were both remarkable. Tracks from Infravision, Fractions and Normal Bias all astounding. A fun and uplifting style. • Synthpop and Wave continued to be robust this year with releases from Minuit Machine, Figure Section, Boy Harsher (that “Machina” track was EVERYWHERE!!!), Sacred Skin, Handful of Snowdrops and more. My most favorite in this category included the “We Were Never Lost” album from Causeway that included an awesome cover of New Order’s “Your Silent Face”. • Alternative, Pop, Shoegaze, Post-Punk records from Hatchie,  Placebo, Mint-Julep,  The Present Moment, were welcome listens.   • The old industrial genre still churns and occasionally my ears will listen. New X Marks the Pedwalk was another sensational example of that projects superiority with future-pop. New Noise Unit came as a surprise and was a mish mash of styles/ideas that didn’t always work in my opinion but a track like “Alone Again” was a real gem. • The Serfs and Kubler-Ross get special mention for assiduously nailing the minimal analog industrial/ebm dance sounds of yesteryear with a modern touch. SO GOOD!!! • Essential reissues from Front Line Assembly and Delerium, Portion Control, Mentallo and the Fixer, and Dive were great to see. If you missed them the first time around now is your chance for rediscovery. The Sigbefia Five/Formal Defect was especially epic as prices for the OG were skyrocketing in value. • I need to think of a creative descriptor name for acts like Zola Jesus and King Dude. Two artist whose albums this year were among the most cathartic releases I experienced.  Uncommonly poignant, moody and so much more. I felt both drained and liberated after listening to each. • Biggest surprise of the year: Xpropaganda. 37 years after the masterpiece “A Secret Wish” Claudia Brücken and Susanne Freytag release the remarkable stunning comeback LP, The Heart Is Strange. intricately detailed it picks up naturally where “A Secret Wish left off – dramatic, soothing and peaceful.

::: ::: :::

Ah, I could go on and on. I love writing and talking about music. Your comments and conversation are welcome, but let’s wrap this up…

This isn’t a top 10, top 25 or even a top 50. Instead, it’s an A-Z recommendation list encompassing many genres as those lines are getting more and more blurred. A good tune is a good tune, regardless of genre.  

HIGHLY encourage you to get out there and seek out new music; Visit the record stores, go hear a new DJ, fire up Spotify or another streaming service, check out some new music via podcast, DJ mixes, label sites, online retailers, even Facebook. One of the best sources for discovering new music is BandCamp – a plethora of discoveries to be found out there. If you do the work, you’ll be rewarded ;)     Speaking of Spotify – I made a playlist this year featuring plenty of the bands on my list. There’s at least a track or more from the artist who have a presence on Spotify. Sadly a few bands on this list aren’t on the platform but check BandCamp and you can have a listen. Here’s the link:   https://open.spotify.com/playlist/1kGOD6hX5NpsDtuglS3W5Y?si=bd8c29a32bb14267

As in years past I’m certain I missed a few things, ignored the hype on certain releases or just plain forgotten something. It’s a chore to compile this list, but I love to do it. There’s a ton of new pioneering music out there for sure waiting to be discovered and it’s the “what’s next” that keeps me a motivated music fan. There’s never a dull moment in speaking, writing, DJ'ing or promoting new music, so I’ll keep doing it and hopefully be a guide for you all ;).   If it needs mention and I overlooked it - I may do an addendum in the next week or so. Anyways, got your notepaper and plenty of beverages ready? Don’t be a TL:DR (Too Long: Didn’t Read) fool. Read up. Enjoy the music of 2022!

Alpha Sect - Internet Rebels (single) Blac Kolor – Roots (ep) Boy Harsher - The Runner (OST) Causeway - We Were Never Lost (album) Cold Cave - Godstar cover (single) Comfort Cure - Cuts the Line (Single) Comfort Cure - Rain on the Bar (Single)

 Comfort Cure - They Told You Wrong (Single) Crystal Geometry - I Stare Into Darkness Crystal Geometry - Thorned (ep) Crystal Geometry – We Are Not Alone (single) Cyan ID - Silent Past Wounds (album) Damaged Clock - Circulo Vicioso (album) Dive - Behind the Sun (album re-issue) Endless Nothing – Omnia Fert Aetas (ep) Evil Dust -Dresden (album) Extensive Infraction - Social Coma (ep) Faux Fear – Perfect Blue (ep) Faux Fear – Uncharted <<<>>> Legacy (single) Figure Section – Mirages (album) Figure Section – Trompe La Mort (single) Fractions – Daytona (ep) Fractions – Rize (single) Front Line Assembly - Corroded/Disorder
(album re-issue) Front Line Assembly - The Initial Command (album re-issue) Front Line Assembly - Total Terror 1 (album re-issue) Front Line Assembly - Total Terror 2 (album re-issue) GBxCL – Consensus Omnium (single) GBxCL – Exordium (single) GBxCL - Total Denial (single) General Dynamics - Weaponize Your Dreams (album) Halv Drom - Serpent Scan (album) Handful of Snowdrops - Hope TM (single) Hatchie - Giving the World Away (album) Hatchie – Nosedive (single) Infravision – That Beat In My Heart (single) King Dude – Death (album) Klack - Beat Unity (ep) Klack - Believe (single) Konkurs - Mind Stimulant (album) Krishna Goineau Feat, MCL – 80’s Tape (album) Kubler Ross - Kubler Ross (album) Leathers – Runaway (single) Leathers – Ultraviolet (single) Light Asylum - Dark Allies (Pablo Bozzi edit digital single) Lust For Youth – Accidental Win (single) Maedon - Now I am Become Death (album) Maedon - Now I am Become Death (Remixes) (ep) Maedon-X – The Lion and the Ram (album) Max Und Max - World Clash (ep_ Mentallo and the Fixer - No Rest for the Wicked 30th Anniversary (album re-issue) Mind | Matter – A Travers L’Acheron (single) Mind | Matter - les brumes de l'abandon (ep) Mint Julep – Covers (album) Mint Julep – Daydream (single) Minuit Machine – 24 (album) Minuit Machine – Follower (single) Minuit Machine - Lion in A Cage (single) Nasdrowie – Extract (ep) Nasdrowie – The Phantom Images 2 (single) New Frames – Ashes (ep)  New Frames – RNF4 (ep) NGHTLY - Il Venerdì Dell'Arte (ep) NNHMN – Arabische Ritter (single) NNHMN - For the Comfort of Your Exstazy (ep) Noise Unit – Cheeba City Blues (Album) Normal Bias - Normal Bias (ep) NZM 99 – Disaster (single) NZM 99 – Analogia (ep) NZM 99 - Requiem of Art (album) Pablo Bozzi - Ghost of Chance (album) Pablo Bozzi - Magnetisma (ep) Pablo Bozzi - Street Reign (ep) Placebo - Never Let Me Go (album) Placebo – Shout (single) Poison Point - Poisoned Gloves (album) Portion Control – Dissolve Plus (album re-issue) Qual – Re-animated (album) Red Deviil - Monster Room (ep) Rhys Fulber - Collapsing Empires (album) Sacred Skin - Killer’s Mind (single) Sacred Skin - The Decline of Pleasure (album)

 Schwefelgelb - Whirlpool-Gedanken (ep) SDH - Maybe a Body (ep) Sigbefia Five/Formal Defect – Behind Impuls Records (album re-issue) Silent Servant - Optimistic Decay (single) Soft Crash – Artificial Tears (single) Soft Crash - Your Last Everything (album) Spike Hellis - Spike Hellis (album) Termination_800 - Cyborg Remix (album) Termination_800 – Opfor Target (ep) The Present Moment - Enough to Drive You Mad (album) The Present Moment - News For You (single) The Serfs - Primal Matter (album) The Serfs – Stimuli (Kontravoid Remix single) Various Artist - Tartarus (with Alpha Sect, Facets, Gegen Mann and more) (album) Various Artist - Unholy Body Tempo (with Cyan ID, Red Devill, GBxCL, etc…) (album) Venon Vampires - Luxury In Deceit (album) WLDV – Lots of bandcamp singles X Marks the Pedwalk - New/End (album) XPropaganda - The Heart Is Strange (album) Yansyet – System 189 (single) Yansyet - Tears of the Motherland (ep) Yansyet – The Shining (ep) Zola Jesus – Alive in Cappadocia (ep) Zola Jesus – Arkhon (album)

[tonkijazz]

Guitar shed parker

#Guitar shed parker download

LONDON, L.A OR LEEDS?: L.A (never been) for the washed up mid career binge.ĪND FINALLY… AS YOU LEAVE THE STAGE, WHAT ARE YOUR PARTING WORDS?Īnyone know if they have Wainwright on cask here?įor more info visit:. Parker has over 15 years of teaching experience including teaching View more company details, employee count and revenue data on Kona Equity. WOULDN’T BE CAUGHT DEAD SUPPORTING: Eric Clapton. Guitar Shed is a modern music school founded by Atlanta native Parker Smith. GO READ THIS BOOK: Siddhartha – Herman Hesse. Robert Fripp (King Crimson) as my Bez just sat smiling on his stool. I am an advocate of lifelong learning and I am. No two students are alike and I am a firm believer that everyone can learn to play an instrument. I pride myself on teaching to the individual. Vashti Bunyan and Sandy Denny – joint vocalsĮlvin Jones (John Coltrane Quartet) – drums Specialties: GUITAR SHED is a modern music school founded by Atlanta native Parker Smith with the intent to offer a unique educational experience and an emphasis on lifelong learning. NAME YOUR SUPERGROUP – WHO’S PLAYING WHAT, WHO’S ON VOCALS AND WHO’S YOUR BEZ? Not sure about sport, maybe just a shout out to all the fell-walkers up in the Dales, I’m one of you! Both Andy and Clare are really worth checking out. There’s a great West Yorkshire artist Clare Carter who I really dig, she’s made some incredible reduction lino-cut prints to fit with Andrew DR Abbot’s record Erewyreve, which is a great solo acoustic album inspired by post-capitalist utopias. WHO ARE YORKSHIRE’S FINEST IN CULTURE, SPORT AND MUSIC? If I get with the wrong sort of friends I’d probably enjoy some 2007 era pop-punk songs…t hat kind of stuff would leave me waking up feeling guilty as hell about the night before, disgusting music! I’ll get on the front line of the cask-ale revival I reckon! Cask > Keg 1000 times over! SO, WHEN IT ALL GOES WRONG AND YOU’RE LEFT BITTER AND TWISTED AND CURSING THE MUSIC INDUSTRY, WHAT DO YOU FALL BACK ON? Artwork by Roger Dean, produced by Todd Rundgren and about one decent song out of 16 per record. The endless string of double LP gatefold concept albums, all written and recorded at Rockfield studios. SO, WHEN IT ALL GOES RIGHT AND YOU’VE GOT A BOTTOMLESS PIT OF MONEY AND LONG QUEUE OF HANGERS-ON, WHAT WILL BE YOUR BIGGEST MUSICAL INDULGENCE?

#Guitar shed parker download

DOWNLOAD? Downloads aren’t very memorable but I did used to spend hours ripping music from YouTube or trawling blogs for mediafire links to download tech metal albums as a teenager. WHAT WAS YOUR FIRST… RECORD? The debut album from a band called Turbowolf, a sweet band that sound kind of like an “arty” Motörhead. WHERE DO YOU SOUND BEST – FESTIVAL, CLUB, BEDROOM – OR SOMEWHERE ELSE?ĭown the local folk-club, there has to be a raffle and a tray of sandwiches in the interval, then my tunes really start hitting home. It’s got some nice folk-jazz flute from the woodwind player of Soft Machine on a couple of tracks. You might learn about harvest folk celebrations or Anglo-Saxon charms from the lyrics.ģ. Pairs nicely with a well-kept cask ale and a walk on the moors.Ģ. It’s got that brown jacket, brown cords 70’s folk-rock vibe but still at least to me, sounds very modern. GIVE US 3 REASONS WHY WE SHOULD TRACK DOWN, LISTEN AND DISCOVER YOUR MUSIC?ġ. HOW LONG HAVE YOU BEEN PLAYING MUSIC? Guitar since I was 6 and the solo folk deal for about 7 years now! ANY PAST BANDS OR COLLABORATIONS WE SHOULD KNOW ABOUT? I used to play in Leeds based technical death metal band Cryptic Shift, great guys but I just got a bit too hooked on Pentangle and Dick Gaughan. We typically begin guitar lessons at age seven and often encourage younger beginners to start with ukulele lessons as a foundation for guitar.Progessive psych-folk singer-songwriter from Leeds… Parker's most famous guitar was the Fly model, an electric guitar made with a slim, lightweight core of real. Parker guitars were distinguished for their characteristic light weight and the use of composite materials. Learn to shred your favorite iconic riffs, strum power chords, or play a gentle serenade. Parker Guitars was an American manufacturer of electric and acoustic guitars and basses, founded by luthier Ken Parker in 1993. Parker sat down with Chris Ladd last week to talk about music, teaching, and running a business. The guitar is our namesake for a reason! Our guitar teachers are well-versed in rock, jazz, funk, blues, soul, classical, and folk, in both acoustic and electric styles. Guitar Shed Parker chats with Chris Ladd from ChordBank on the Top Teachers Podcast. Our virtual guitar lessons bring our expert guitar teachers into your home using the platform of your choice. Guitar Shed specializes in teaching all levels of styles of guitar lesson.

[mis3rychick]

Since Grunge is trending for some reason, here’s some new/modern grunge bands I think you should check out!

1. Valentiine

Lead vocalist sounds like a mix between Taylor Momsen and Nina Gordon from Veruca Salt.

Definitely has an overall Veruca Salt and Hole kind of sound.

Nirvana and Soundgarden influences with a modern twist.

2. Senium

Heavier, more industrial sound.

Muddied riffs and drum beats in the best way.

Early Nirvana sound (think Bleach).

Reminiscent of Melvins, Mad Season.

Classic mid-90s grunge sound.

3. Skating Polly

Heavy on the L7, Hole, Veruca Salt vibes (they even have a song with Louise Post and Nina Gordon).

Faeriecore but make it grunge.

Has worked with producer Brad Wood who’s produced albums for Sunny Day Real Estate and queen Liz Phair during their hay day.

Early, grimier grunge sound (almost punk/punk in some aspects)

Raw and simple feminist noise (I say that as a compliment).

4. Pom Pom Squad

I feel like I’m gonna get some pushback on this but hear me out

A lot of these bands are reminiscent of the grunge sound of the 90s

While Pom Pom Squad definitely has some 90s influences, it’s sound is what I think grunge has kind of evolved into.

Now obviously, certain songs of theirs aren’t grunge at all and fall under a more “indie” kind of sound.

But I still think the band is worth checking out if you’re looking for newer, grunge-aligned music.

5. Noiseheads

Good choice if you’re looking for bands that aren’t heavily influenced solely by Nirvana.

Alice In Chains and Smashing Pumpkins kind of vibe.

Lead vocals and drums are a stand-out performance.

6. Superbloom

Classic grunge sound, very minimal modern influences while still utilizing modern technology and production techniques.

Gritty, picturesque, Pearl Jam style lyrics with a Smashing Pumpkins style production.

Sick album art.

Feverish, hypnotic sound.

7. Violet Soda

Courtney Love reminiscent vocals.

90s Fiona Apple with a grittier sound.

Bush and Garbage influences.

Has the same kind of vibe that Pom Pom Squad has, where it’s a more modern take on the genre instead of sounding like something pulled right out of the 90s.

8. Movements

Again, if you’re looking for a direct carbon-copy of that 90s sound, this might not be your favorite.

But I’m trying to encourage y’all to listen to bands that take the sound of 90s grunge and do something refreshing and new with it.

Imagine a cross between pop-punk and grunge.

Blind Melon meets Day To Remember meets liberal arts college student.

More straight-forward approach to lyrics and storytelling as opposed to the psychedelic, philosophical, dreamy lyrics of classic grunge bands while still remaining engaging.

[recordsshmecords]

21 of 2021: The Best Albums of 2021

It’s been a long time since I’ve broken out this ol’ Tumblr account. Life has changed in the...Jesus...four years since I last posted on here. But the fact of the matter is this; I was motivated to crank out my first end-of-the-year list for myself in quite sometime. A huge shout out to multiple random people that I’ve never met who approached me saying they actually read my nonsense throughout the years. Big reason I threw this list on this old account (seriously, people use Tumblr still? Shock). Thank you for the support and with that, here are 21 albums that kicked total ass in 2021, a year when good music was more necessary than ever. 

21.     Vince Staples – Vince Staples

Vince Staples gets straight to the point with no bullshit. His self-titled album, another knockout, is Staples’ least abrasive sonically, toning the energy down with his focused lyricism front and center. Unlike other Staples albums, there’s no real political or social commentary explicitly explored. Instead, this self-titled album plays as stories told from someone who’s lived them, painting vivid portraits of a life consumed by violence and fear. The inevitability of death permeates the album, be that the inevitability from the lifestyle or simple matter of fact that no one lives forever. Vince Staples reveals the traumas that brought him to the conclusions of life – violence and pain that would define his entire outlook.

20.     Sault – Nine

Everything about Sault’s fifth album Nine felt subtly monumental. The British soul/funk collective stays secretive, save for the knowledge that it’s a collab effort from producer Inflo with Cleo Sol (whose delivered a phenomenal album in 2021 with Mother) delivering some knockout lead vocals. In pure enigmatic fashion, Nine was only available for download/streaming for 99 days before disappearing forever. Though it may be gone, the thoughtful meditations of race and modern sociological issues resonated long past the album ran off into the night. Maybe it was the catchiness of the tunes; sticking these ideas in the mind through a subtle release that will never be forgotten.

19.     Turnstile – Glow On

An absolutely BITCHIN hardcore punk album that brought soaring emotions, Glow On is the best album from Maryland band Turnstile. Glow On shreds the fuck out. But it’s not all punk jamming; Brandon Yates’ vocal performance take on an anthemic quality soars along with the rifts, morphing the production into something dream-like and intoxicating. Glow On feels like a gung-ho, go for broke type of hardcore album grappling with existential ideas in the fiercest way possible, blurring genre lines but remaining a punk statement throughout. My favorite type of punk and an album that was a perfect catharsis throughout the year. Definitely damaged my hearing with this one.

18.     Squid – Bright Green Field

Hands-down the best debut of 2021, Squid are a post-punk British oozing with bountiful, off-the-cuff eccentricity throughout Bright Green Field. This is an album that indulges in any tendency as it sees fit, playing in its own labyrinthian world with listeners invited to spiral along. Whiplash is expected when songs veer from one end of the punk spectrum to whatever makes sense in the moment. As a band, Squid sound so secure in their vision here that it’s boggling to comprehend this as their first album. I randomly stumbled across Bright Green Field after a night of drinking, engulfing myself in its often unsettling atmosphere. This is one that begs to be listened in the dark, headphones cranked to deafening levels for the best “descent into madness” experience of 2021.

17.     Tune-Yards – sketchy.

It’s easy to forget, but Tune-Yards have been working in the industry for 15 years, delivering quirky art pop with Merrill Garbu’s lead vocals always acting as some of the genre’s most distinct. Each Tune-Yards album provides unique soundscapes, but sketchy. is possibly the band’s most eclectic and colorful work thus far. A more personal album than previous projects, sketchy. is a confidently anxious project that confronts all manner of issues by puffing its chest and doing what it needs for release. It’s always bizarre, as all Tune-Yards albums are delightfully weird in general, but sketchy. comes in guns blazing with pure intent and passion. I was taken off-guard by how much I loved revisiting the world crafted here throughout 2021. Tune-Yards don’t give a shit and will express the heart on their sleeve as seen fit, something I’m 100% here for.

16.     Julien Baker – Little Oblivions

Little Oblivions, the third album from singer/songwriter Juilen Baker, is an utterly punishing experience. Not in how abrasive the album isn’t, but how Baker’s self-destructive lyricism paints a vivid portrait of tormented emotions that feels like something beyond personal. Utilizing a full band rather than the simplicity of acoustic folk, Little Oblivions feels at once fittingly huge and painfully intimate. Like the diary of someone grappling with trauma in the midst of ego death, Baker brings a wide-eyed unpredictability of someone with nowhere to go but within. Little Oblivions isn’t a sad record because of the topics, it’s the singer’s own approach to the material that hurts the most. You want to tell Baker everything will be alright, despite knowing that’s bullshit.

15.     Self-Esteem – Prioritise Pleasure

When Rebecca Taylor left the band Slow Club to reimagine herself as the bonafide Madonna-esque popstar Self-Esteem, it seemed like a jarring shift of intent. And yes, indie-folk to pop-bombast is a pivot for the ages, but Self-Esteem’s true nature is more personal and direct than the quiet intimacy afforded to folk. Her second album as Self-Esteem, Prioritise Pleasre, is a direct takedown of relationship dynamics and sexist gender politics that eschews preachiness by delivering the years’ biggest anthems of self-gratification. Even when the album is fighting with fire in its eyes, there’s a genuine sensitivity that comes through with fantastic songwriting as Taylor isn’t pointing the finger or laying the blame; she’s showing her side and bearing her soul for anyone willing to listen. Taylor’s Self-Esteem moniker isn’t a statement of who she is, it’s statement reminding herself who she is. This album feels like she’s shaking you, crying passionately for understanding from every angle.  

14.     Kanye West – DONDA

To anyone that knows me: yes, I knew you knew DONDA would make my best of 2021 list. But the thing is, the experience of the DONDA lead up is crucial to understanding what made this Kanye West’s best album since The Life of Pablo. Constant delays, the massive listening events that showed an artist crafting the album in real-time, the constant turmoil of Kanye’s personal life; all factored into DONDA being as grand as it is. You don’t listen to a damn near two-hour experience this messy and nitpick the flaws; you admire some of Kanye’s biggest, boldest, and most emotional work yet.  It’s a slop-show structurally (my god, the deluxe is worse) and saves the best for the second half, but it’s a Kanye flex in every way imaginable. Being a Kanye fan can sometimes seem like a full-time job of defense and head-shaking, but 2021 was the gift that kept giving for Kanye fanatics with DONDA smack dab in the middle, defining a true cultural moment.

13.     Laura Mvula – Pink Noise

Despite being nominated for the prestigious Mercury Prize in 2016, British artist Laura Mvula was unexpectedly dropped from her label RCA. A heavy blow to any artist and one that would undoubtedly drudge up the worst emotions. Five-years-later, Laura Mvula returns not with negativity, but with Pink Noise - a glistening and sexy slice of 80s/90s pop with Mvula radiating more confidence and style than ever before. It’s her biggest sounding album, dominated by a vocal performance bursting with attitude, sass and passion. This feels like an album specifically for Mvula to prove her self-worth to herself, to show the labels and critics that she’s worthy of her own artistry. Screw the labels and critics – Laura Mvula deserves the happiness radiating on every inch of Pink Noise.

12.     Doja Cat – Planet Her

Easily the biggest surprise of 2021. I knew Doja Cat to be a talented rapper/singer with a dash of controversy, but hadn’t dug a complete project from her. Like other big name female rappers who’ve conquered the charts, Doja exuberant viral personality is tantamount to Planet Her’s energy and quality. She’s given us a chart-topping pop album that feels spaced-out and confident from beginning to end. Planet Her isn’t just full of catchy tracks specifically designed for maximum plays; these tracks earn your repeated listens with fantastic production and Doja Cat’s uniquely animated voice that’s as entrancing as it is hype as fuck. The pop-mainstream doesn’t always deliver on the album experience, but Planet Her powered through as one of the most worthwhile entries in some time. Sometime, a little faith in “what’s popular” can pay dividends.

11.     Jayda G – DJ Kicks (Mix)

I’m going to keep it real – “Both of Us” by Canadian house producer Jayda G is one of my favorite bangers to share with people. It’s full of raw emotion that builds at a breakneck pace to an explosive soulful climax without ever losing any propulsion that house music needs to be a success. It’s incredible and while I’ve waited to see a solo-release of some sort from this incredible new talent, I’m floored with Jayda G’s contribution to the DJ Kicks series. It’s a soulful blend of house utilizing a plethora of raw samples for maximum impact on the dance floor. Once Jayda G starts the set, she sounds like a veteran of the genre with complete control of her craft, creating art through movement. It never loses momentum and I dare say it’s the best installment in the DJ Kicks series heard in years. Jayda G continues to be an artist to watch, especially when a simple DJ mix holds a candle to the best works of 2021.

10.     Czarface & MF DOOM – Super What?

If 2020 didn’t suck shit enough, the death of hip-hop legend MF DOOM was a crushing blow to the entire rap community and artistry in general. DOOM amassed a following of rabid fans by simply being one of the best wordsmiths (an opinion I strongly share) of the genre. If DOOM’s death was a crushing blow, another collab with hip-hop supergroup Czarface was exactly needed to soften the hit. Super What? was delayed due to the pandemic and because of this, DOOM never comes off like an incomplete presence is in top form. DOOM may not be in every song, but his tracks feel like a pure showcase for a legend in prime form. Each member of Czarface (7L, Esoteric, Inspectah Deck) sound like they’re honored to be part of an icon’s legacy, delivering top-tier bars and production. It’s rare to get posthumous performances that live up to the life of the artist, but Super What? works as a bittersweet send-off to one of the all-time greats.

9.     Tyler, The Creator – CALL ME IF YOU GET LOST

I remember the Odd Future Wolf Gang Kill Them All era of Tyler, The Creator like it was yesterday. The brutal shows of the collective, the abrasive (sure…problematic) attitude and sensation of a group bringing something new as a collective; it was exciting to see where it would all go. Throughout each subsequent solo album, ex-OFWGKTA leader Tyler, The Creator consistently challenged the perception of his brash persona, slowly peeling layers of his persona to reveal the intimate and personal side like never before. If Flower Boy was his descent into personal territory, and Igor was a bizarre interpretation of those sensibilities, CALL ME IF YOU GET LOST is Tyler, The Creator revealing and celebrating himself to the fullest. Tyler raps is ass off, bringing DJ Premier along for a personal odyssey that looks at the past to come to terms with the present. CMIYGL feels like the most cohesive vision of the Tyler persona; a soul-bearing rap epic that might just be his best album yet.

8.     Lakou Mizik & Joseph Ray – Leave the Bones

I’m going to be 100% honest about this entry – I didn’t know, and still don’t, much of the history behind Lakou Mizik or Joseph Ray. I know Lakou Mizik as a multi-generational Hation roots band and Ray won a Grammy for a Skrillex/Nero remix of one of his tracks. Whatever the case and lack of knowledge, I feel the music within Leave the Bones speaks for these artists better than any online search would bring. I like it that way; keeping Leave the Bones a multi-cultural house record that destroys the dance floor with peace, love and unity. It’s an album that immediately brings a better mood with an exuberance pouring out with every track. The less I know details, the more I focused on the act of crafting such joyous tunes. One of the purest experiences of 2021.

7.     Bo Burnham – Inside (The Songs)

Okay, so I tend to avoid comedy albums on end of the year lists, let alone one containing songs from a Netflix special. The thing is, no other piece of media grappled with the intimate issues 2020 left in its wake like the songs featured on Bo Burnham’s new special Inside. These songs are certainly hilarious at times, but strikingly catchy and produced with a level of craft often reserved for the biggest names in the business. Even without the visual aid of the film, Inside (The Songs) features tracks that feel remarkably honest and timely. Every one of Burnham’s songs seem to come from such an honest place of observation, like watching the world crumbling in 2020 felt to so many people. It becomes a mental health awakening that rightfully deserves to be in the conversation of the best album/film 2021 had in store. If you’ve ever felt trapped and insecure about yourself, maybe unsure how to channel personal energy, Inside (The Songs) has something guaranteed to get a laugh through a few tears.

6.     Porter Robinson – Nurture

In the seven(!) years since Porter Robinson’s debut album Worlds became a sensation of the electronic dance genre, times have changed. The initial burst of new and fresh EDM led to an oversaturation in the pop sphere, almost diluting what made some of the genre’s best so great in the early part of the 2010s. Nurture isn’t Porter trying to recreate the success of Worlds nor is it any sort of commentary on the state of modern dance music – it’s a full blown statement of an artist who used the gap in albums to refine his sound and come to terms with his own place in the world. Nurture feels like a sigh of relief - like a hug from a loved one that hasn’t been seen in years or a feeling of peace rather than anxiety in moments of solitude. Worlds has a special place in my heart, but Nurture is a personally fulfilling album that glistens with hope every step of the way.  

5.     Little Simz – Sometimes I Might Be Introvert

With her breakout mainstream appearance in the new Venom film (best scene in an otherwise mediocre movie), it’d be forgivable if Sometimes I Might Be Introvert being the FOURTH Little Simz studio album came as something of a shock. The British-Nigerian rapper delivered a major critical darling in 2019’s Grey Area, displaying her incredible flows and intricate wordplay to a whole new legion of fans and leaving everyone frothing for a follow up. Everything was all warm-up; Sometimes I Might Be Introvert is the rapper’s best work by a country mile, no tall feat considering the quality of her previous albums. Little Simz matches her thoughtful bars with some of the best production of any album in 2021, booming along with soulful samples and kinetic beats that keep up with her madcap delivery. Easily one of 2021’s premier hip-hop records, Little Simz delivered something special that rightfully boosted her into a whole other level of fame.

4.     Japanese Breakfast – Jubilee

To say Michelle Zauner had the glow-up of 2021 would be an understatement. After two solid albums leading Japanese Breakfast, the singer shifted her focus towards writing and landed a New York Times bestseller with her memoir Crying In H-Mart. Zauner’s book is a beautiful read, meditating on life with her mother using food as a gateway into poetic ruminations on bittersweet memories that defined a relationship forever. While the book is the meditation on death, Japanese Breakfast’s third-studio-album Jubilee is the catharsis. It’s the band’s most confident and assured work yet, delivering some of the finest singles in 2021 (“Be Sweet”, “Posing In Bondage”). Though Crying in H-Mart isn’t required reading to connect with Jubilee, the pairing of both crafts a thoughtful narrative of the human experience at once gut-wrenching and all too real. It’s the remembrance of small moments that stay with us forever, no matter how insignificant in the moment, that define our lives forever.

3.     Wolf Alice – Blue Weekend

Hot off the heels of the 2018 Mercury Prize winning album Visions of a Life, Wolf Alice were in a situation award-winning, acclaimed bands find themselves; where do we go from here? Rather than completely reinventing, Wolf Alice doubled down and worked to perfect specific vibes on their newest album Blue Weekend. This is alternative rock by definition only; each song expertly plays as a series of vignettes, indulging in rock, shoegaze, folk, trip-hop and dream-pop without losing an ounce of cohesion. Wolf Alice keep a narrative of relationships and proceeding anxieties as a loose guideline to tell a mood-piece. Each song feels so distinct, its own contained story with something for any kind of vibe. Melancholic, joyous, or spacey; Wolf Alice have specifically designed the entire album to work on a multitude of emotional waves.

What separates Blue Weekend from the slew of dream-pop releases is not only the perfectly curated moods, but the fact that Wolf Alice delivered their best album by working towards improving everything that came before. The genres being explored don’t see reinvention often, so it’s up to bands like Wolf Alice to prove that a moody-shoegaze-alternative album can be thrilling. Not just music, but worlds to escape and discover ourselves within. A world of our own, separated from reality and finding the biggest truths. Blue Weekend is a masterpiece of the genre(s) that will be a blueprint (sorry) of what these sounds can accomplish in a new decade.

2.     CHVRCHES – Screen Violence

While touring their third album Love Is Dead, CHVRCHES received horrific threats of death and rape, often directed toward frontwoman Lauren Mayberry. The taunting from Chris Brown based off comments Mayberry made about domestic abuse set shitty Brown’s fans into a frenzy, attracting shitty Tyga fans to pick at the electropop band. Upping security, CHVRCHES powered on to finish the tour only to have Covid-19 isolate the band with the rest of the world. With the band already disillusioned with the touring life, isolation could have been the kiss of death. Instead, the band fittingly recorded their latest album Screen Violence over video sessions in isolation for what is easily the heaviest album the CHVRCHES discography. It’s also their best.

Lauren Mayberry sounds better than ever. Though the threats gave her enough material to tackle misogyny headfirst, Mayberry is more concerned with expressing the confusing and terrifying mental repercussions of trauma. Everything is based off the worst case “what if” scenario in Mayberry’s lyrics, yearning for the comforting past not out of naivety, but weariness. CHVRCHES are at their glitchy electronic best, throwing in more guitars and reverb than ever before which compliment the band’s darker turn. Mixing cinematic production with Mayberry’s awe-inspiring performance makes Screen Violence the most dramatically satisfying album from the band. It’s as if isolation allowed everyone to fully express themselves in a world of their own. Screen Violence doesn’t find answers in the turmoil, but confronts them head on with an aggression of someone backed into a corner. Of all albums in 2021, Screen Violence is the most personally impactful, digging deep into the darkest side of mental health with honesty and heartbreaking realism. It fucked me up.

1.     Jungle – Loving In Stereo 

The best albums of 2021 felt like the reprieve needed after a tumultuous year the world still grapples with. Many, myself included, were impacted on a personal scale in a myriad of ways that shifted perspective of life as we knew it. In a digital age, the worst tendencies of man are on full display for all to see and as such, every self-accomplishment can feel insignificant or inconsequential to the madness around us. The best music of 2021 felt like an affirmation that no matter the context, everyone struggles with acceptance on a personal and collective scale that requires looking inward first. The new Jungle album Loving In Stereo is the album of 2021, for me, because it epitomizes everything music does to free the mind from the darkest depths.

It’s right there in the Apple Music description, spoken by Jungle producer/multi-instrumentalist Josh Lloyd-Watson: “This is the antithesis to our last record – where that was about heartbreak, this album is about freedom, picking yourself and moving forward,” before adding “It’s an album made for bringing people together; upbeat tunes to set people free.” And that’s precisely what Jungle deliver on Loving In Stereo – wall-to-wall groovy bangers that actively beg you to cut loose and feel yourself. It’s a massive album that feels like a monument for liberation at every turn, at every groove, with something amazing around every corner. We may be living in rough times, but hope for a better tomorrow is always possible with the focus on beautiful moments and how they can eventually overtake the bleakest of times. Jungle aren’t going to save the world with Loving In Stereo, but albums like it make it a better place.

[th3-0bjectivist]

Dear listener, this week I feel compelled to bring Tumblr a little slice of music from the Silversun Pickups, who, despite my best and most concentrated efforts to despise their sound, have managed to become endearing to my nearly non-existent heart. Regardless of my sincerest attempts to stop listening to them over a decade or so, this group is SO GOOD at what they do I just cannot manage to quit revisiting their catalog without a semi-religious consistency after being hooked by their intoxicating post-punk sound, and the complete experience that they have to offer. In terms of atmosphere, overall personal resonance, and contextual vibe… I keep returning to this band almost exclusively for their ability to manipulate my gloomy heartstrings like a melancholy violinist on a well-tuned violin. Smash play just above for Lazy Eye from their 2006 debut album, Carnavas, and if you want more, scroll on down.

True story: I tried to hate this band for about two years after I had discovered them (2015 or so). Looking back; I was immature, brash, a little punkass bitch. Also, true story, I have personally determined that hating them is impossible, especially after the emotional ride they have managed to provide for me in my limited time on planet Earth. I have realized that this dialect of rock music just isn’t for me, and still come back for more. They’ve got a lead male singer (Brian Aubert) whose voice registers as feminine to my ears and an overall sound that I would plainly describe as sonic. As of writing this musical recommendation, color me humble… their music is rabid and fervid with beautiful lyrical poetry, genuine passion for their craft, and a unique ability to bring me to the points of my knees just by being sincere and making songs about universal moments. This is a rare musical gem that I enjoy adoring, despite the nature of the force that formed it. The name of the group is derived singularly from the fact that the members early-on in their career picked up their alcohol from a store called Silversun Liquor… making it a Silversun pickup. Further, this group originally had not one, but two romantically involved couples in the lineup. When both couples broke up around the same time, and two members left subsequently, it nearly destroyed any future collaborative work… until around 2006 when they established their permanent lineup and released their first album which went gold by industry standards. I do honestly enjoy their earliest works more so than their later ones, as they had a knack for making me listen to shoegaze without actually wanting to open a vein in the process. Later on, they let their badass lady bassist, Nikki Monninger, take the lead vocal reins and they’ve even rubbed shoulders with industry titans like Butch Vig and Alan Moulder on the production end. Further on in their production cycle (2015-2022) their albums take on a newer, more mainstream sound that still feels groovy but also seems somewhat overproduced to me… as is the nature of getting in bed with music industry big wigs. But hey, that’s no sleight coming from me! I’ve got my headphones on right now and even their overproduced recent stuff is markedly better than approximately 91. 9999% of modern music. I just prefer their earlier stuff, which is why I will dovetail this post with There’s No Secrets This Year from their 2009 album Swoon!

This is a musical group I enjoy very much in spite of the type of music they make. Outside of a few bands here and there, I don’t even think I really like listening to rock music that much at all these days. SP makes my chest feel like it’s full of glitter and silly string, all while causing my head to bob up-and-down uncontrollably at the same time. Great job SP: your tunes actually make me feel something, unlike the rest of these indie/alt rock jabronis. Image source: https://www.livenation.co.uk/artist-silversun-pickups-2426

[dustedmagazine]

Dust Volume 7, Number 9

Les Filles de Illighadad

Another collection of short reviews closes out this week at Dusted, with selections ranging from avant garde classical to free jazz to whacko punk to an unusually gender-inclusive guitar band from Niger.  Writers this time included the usual stalwarts, Bill Meyer, Ray Garraty, Jennifer Kelly, Jonathan Shaw, Bryon Hayes, Tim Clarke, Andrew Forell and Chris Liberato. Enjoy.

All Set — All Set (RogueArt)

In 1957, serialist composer Milton Babbitt’s All Set applied his language-transforming compositional tool kit to the sonic resources of a jazz orchestra. Six decades and change down the road, such ideas haven’t exactly infiltrated the mainstream of either jazz or orchestral music, but they’ve become as handy for some music makers as hammers and nails are for carpenters. So, when saxophonic colleagues Ingrid Laubrock (who sticks to tenor here) and Stéphane Payen (playing the straight alto) needed to come up with a framework to make music together, out came Babbitt’s notion, which they did not play straight, but used as a suggestions for writing their own tunes, and for good measure named their band after the Babbitt’s piece The formative influence manifests in zig-zagging intervallic leaps, but instead of treating these of ends in themselves, the saxophonists carry on constant overlapping dialogues. The rhythm section of Chris Tordini (bass) and Tom Rainey (drums) can’t help but swing, but they do so in a shifting, discontinuous fashion that occasionally leaves it to the saxophonists to play the gaps as well as the horns they use the fill them.

Bill Meyer

 Rodrigo Amado Motion Trio & Alexander Von Schlippenbach — The Field (No Business)

The Field by Rodrigo Amado Motion Trio & Alexander von Schlippenbach

Motion Trio is one of tenor saxophonist Rodrigo Amado’s more enduring combos. But it’s not one that has played often in the years preceding this concert, a consequence of the growth and success of its members; Amado, cellist Miguel Mira and drummer Gabriel Ferrandini all keep busy with other projects. So, this encounter with pianist Alexander von Schlippenbach, which took place in Vilnius, Lithuania in 2019, was not just a reenactment of the trio’s favorite tactic of improvising with a strong fourth musician, but a reunion of the trio itself. This means that the process-oriented can listen for three comrades finding reviving a common language at the same time that they confront with an outsider’s efforts to deal with it. Schlippenbach’s playing brings an unusual harmonic density to Motion Trio’s music, which seems to coax an especially dynamic and at times reflective response from the saxophonist. Ferandini, on the other hand, proposes shapes and timbres that seem to build out from Schlippenbach’s intricate constructions, while Mira keeps up a steady, almost subliminal stream of contrapuntal commentary that is simultaneously assertive and nearly subliminal. But some of the concert’s most exciting moments come when the pianist lays out for a second, and you can hear Motion Trio’s members responding to each other.

Bill Meyer

  BangGang Lonnie Bands — H2K On the Way (TF Entertainment \ Anti Media)

Lots of artists have watched small projects intended only as appetizers grow to surpass their grander efforts. BangGang Lonnie Bands’ recent work, especially his King of Detroit albums, contained a few gems but were bloated in length. There was an ironic twist, as Lonnie’s claimed the throne to the city where he no longer resides. While it remains to be seen what the rapper brings after H2K On the Way, this 15 minutes long EP is his leanest work in years, leaving a long list of LPs behind. Lonnie no longer flirts with scam rap and returns to murder music, fusing gutsiest Michigan-style punchlines with no hostage Californian approach to verse spitting. He’s the naughtiest when he’s trolling the music industry: “Copped a 100 pounds of crank \ should have bought a verse from Drake.” 

Ray Garraty  

  Buffalo Daughter — We Are the Times (Anniversary)

Buffalo Daughter always caught in the cracks between mainstream and experimental, layering vocal sweetness over chopped up blippy beats, not as wildly original as OOIOO, but not exactly girl pop either. This latest album comes after a long break and a slightly less lengthy COVID lockdown, and it’s got some prickly, dreamy jams, part dance, part pop, part funk, part inscrutable. “ET (Densha)” is the mad, moody single, full of low-end synth blasts and thundering drums, but leavened by high whispery vocals. It’s like Shackleton sound-tracking a Hello Kitty movie. “Global Warming Will Kill Us All” is similarly ominous, with vocoder chants and trippy pop choruses and blown out by phosphorescent blots of synth, but I like “Don’t Punk Out” the best, because it struts like an animatronic James Brown, the funk percolating through gleaming futuristic swells of sounds. If disco’s going to come back, can it be this weird and disorienting?

Jennifer Kelly

 Fashion Pimps and the Glamazons — Jazz 4 Johnny (Feel It Records)

Jazz 4 Johnny by Fashion Pimps And The Glamazons

This new EP from Fashion Pimps and the Glamazons manages to fit into the tradition of whacko punk records from Cleveland (and what a tradition that is…) and to comment on the problematic nature of tradition itself. There’s a decided No Wave vibe to Jazz 4 Johnny: listen to it, and you’ll flash on Buy Contortions and on Robert Quine’s attempts to channel Miles Davis and Pharoah Sanders through his guitar. At points you’ll swear there’s a sax somewhere in the buzz and thunder that the Fashion Pimps create — but that’s just Richard Glamazon’s skronky guitar tone, which does Quine one better by not only aping the cadences of a free jazz solo but also the sound of a brassy axe. That’s fun, but we should also recall No Wave’s sharp antipathies for concepts like “tradition” or “perpetuity.” A lot of those bands wanted to neutralize their own existence and thus evade the ultimately conservative action of canonization. Other tunes on Jazz 4 Johnny are more engaged with the later Downtown noise rock scene. The guitar on “Dream Police” gestures toward early Sonic Youth—but even there, the band can’t quite help themselves. Vocalist Steve Chainsaw shouts, “Show me your DNA!” Most of those references are based in Manhattan, so what about Cleveland? The city often recedes into the background when conversations turn to rock-n-roll history, which is too bad. Fashion Pimps and the Glamazons don’t sound all that much like electric eels or Pere Ubu, but the band is tuned into a similarly feral, post-industrial ethos and an avant-garde sensibility that makes anti-art into art you can dance to. Or break things to. Or both. Which may be the best response to the wild and smart tunes on this record.

Jonathan Shaw

 Les Filles de Illighadad — At Pioneer Works (Sahel Sounds)

At Pioneer Works by Les Filles de Illighadad

The entrancing At Pioneer Works documents the American touring debut of Niger-based Tuareg ensemble Les Filles de Illighadad, specifically a pair of shows at the eponymous Brooklyn venue. Travelling as a four-piece ensemble, the band created a swirling three-guitar maelstrom, as captured on this pristine-sounding recording. Founder Fatou Seidi Ghali — the first known woman Tuareg guitarist — and her cousin Alamnou Akrouni were joined by Fatimata Ahmadelher, the only other known woman Tuareg guitarist, with Ghali’s brother accompanying on rhythm guitar. Blending the traditional calabash drum and call-and-response vocals of the tende song form with the electric guitar, Ghali and company steep the communal origins of their sound with a gentle clangor. The music is simultaneously hypnotic and driving, the four performers acting as one multi-limbed, multi-throated being. For the most part, Ghali is content setting the pace and playing along with the melody. One exception is the trio of deftly executed solos during “Chakalan,” where she demonstrates her prowess with six strings. Reports from those Brooklyn shows indicate that the band completely enraptured their audience, and if At Pioneer Works represents only a fraction of how powerful Les Filles de Illighadad are live, this writer doesn’t doubt that at all.

Bryon Hayes  

 Henri Guédon — Karma (Outre National)

Karma by Henri Guédon

You don’t have to be a big fan of R.E.M. to feel overly familiar with “It’s The End of The World As We Know It (And I Feel Fine).” In dire times, it’s such an easy go-to tune that even adherence to lockdown prescriptions won’t keep it out of your ears. So, deejays, we’ve done your research for you, and found a new tune to soundtrack defiant frugging in the face of disaster. It’s called “Fin Di Mond,” by Martinique-based singer/percussionist/sculptor Henri Guédon. It, and eight more similarly motion-motivating tunes, can be found on Karma, a predominantly celebratory set of retro-futuristic, Franco-Caribbean grooves. Mind you, this music wasn’t retro when Guédon recorded it 46 years ago; the synth lines that swoop through its massed percussion were probably the height of modernity back in the day. Heard now, this music is just the thing to put time itself on pause.

Bill Meyer

HTRK — Rhinestones (Heavy Machinery)

Rhinestones by HTRK

Rhinestones is a sneaky one from Melbourne’s HTRK, a slight but incisive release that seems minor compared to their previous albums but cuts just as deep. Running to a brutally economical 26 minutes, most of the album is built around delayed guitar, drum machine and Jonnine Standish’s ghostly, dejected voice. To a world laid low by the pandemic, Standish sounds startlingly apposite for these times, and track titles like “Sunlight Feels Like Bee Stings,” “Real Headfuck” and “Straight to Hell” signpost the vibe clearly. This is sad, skeletal music, sure to offer a degree of solace if you’re weary, wrung out or wasted — 2021 in a nutshell.

Tim Clarke  

 Matt Jencik — Matt & Lyra (Trouble In Mind)

Matt & Lyra by matt jencik

Matt Jencik is a member of doomy, spacey Chicago band Implodes, plus he’s released two solo guitar albums: 2017’s Weird Times and 2019’s Dream Character. For his latest, Matt & Lyra, part of Trouble In Mind’s Explorers Series, Jencik focuses on the thick, fuzzy tones of the Russian-built Lyra-8 synthesizer (hence the album title). Having said that, he does pull out his guitars to add some acoustic strumming to “Cmellow Ayellow,” and builds 16-minute closer “Clandestine Half Pipe” around electric guitar drones before the Lyra begins to dominate the frame. Jencik apparently made this music to help him sleep, and while this music is suited to nocturnal listening, with an all-enveloping warmth, there’s also the sense of something looming in the darkness. Whether this presence is reassuring or threatening probably depends on the frame of mind with which you approach this immersive 35-minute release.

Tim Clarke

 Joakim — Second Nature (Tiger Sushi)

French producer and Tiger Sushi founder Joakim’s Second Nature is a reflection on the state of the world. It combines samples of whales, elephants, toads and other wildlife with the kind of pop facing ambient techno from aughts chillout compilations.  It is testament to his skill as a producer that the record doesn’t wear out its welcome despite the occasional lapse into the anodyne and the associations this kind of gentle background music evokes. When Joakim disturbs the tranquility on tracks like “Sferics & Whistlers” with its crackles of static and breakdown of discordant notes, Angel Bat Dawid’s klezmatic clarinet on “Waves Ahead” and the komische roll of “Kepler-39” that one is jolts from reverie and pays close attention, but at 16 tracks it feels like Second Nature needs more such moments.

Andrew Forell 

 The Killing Popes — Ego Kills (Shhpuma)

Ego Kills by The Killing Popes

Thank god this unfortunately named combo isn’t someone’s absurd scheme to crossbreed the sounds of Killing Joke and Smoking Popes. Instead, the Berlin-based project exists at the crossroads of jazz and electronics. I know what you’re thinking, and no this isn’t a modern take on acid jazz; this crew makes a jazz-on-acid sort of racket. The core Popes are drummer-percussionist Oli Steidle and multi-instrumentalist Dan Nicholls, who together conjure up a brew with a myriad of ingredients. Their genre-defying fusion of disciplines does have a center, however. Steidle’s dextrous drumming and the elastic band bass proffered by Phil Donkin serve as an anchor point for the other elements — both melodic and bizarre — to revolve around. The addition of vocals inserts the sense of narrative, creating a gravity that tugs at the sounds and prevent them from spiralling out of orbit. As zany as Ego Kills may be, it’s jazz-like enough for afficionados to appreciate. On their own, each of the instrumentalists demonstrates a mastery of their craft; together, they create an uncanny sort of magic.

Bryon Hayes

 Norman W. Long — BLACK BROWN GRAY GREEN (Hausu Mountain)

BLACK BROWN GRAY GREEN by Norman W. Long

Chicago soundscapist Norman W. Long walks his southeast Chicago neighborhood, listens deeply and records the ambient sounds of nature, the echoes of railyards, wasteland and industrial sites both working and abandoned. Adding subtle electronics and treatments to his field recordings, Long conjures atmospheres that speak to space, atrophy and the delicate symbiosis between nature and humanity. On BLACK BROWN GRAY GREEN he immerses listeners in the often unnoticed aural richness at the intersection of the built, neglected and the natural. His choices about when to augment or to present his sources as are forms a narrative of associations, displacements and tensions. Long’s is also a story of reclamation and recognition, a rumination on the situation of the largely minority and migrant populations who live in the neighborhood, many of whom toil as essential workers across the city in the face of ongoing prejudice and hostility. Site specificity is integral to Long’s art but his themes are universal.

Andrew Forell 

 Andy Moor — Music For Safe Piece (Unsounds)

Music For Safe Piece by Andy Moor

Music For Safe Piece is the antidote for every piece of children’s music that’s ever made you want to not hear another played or sung note, ever again. Electric guitarist Andy Moor (the Ex, Dog Faced Hermans) and dancer Valentina Campora have included their sons, Elio and Milo, in onstage performance ever since they were so young, they had to be swaddled and strapped to one of their parents in order to participate. The recorded results of this shared adventure are raw, unpredictable and exhilarating. Moor’s guitar, occasionally augmented by a child’s vocalization, a foot pounding the floor or some choice tune fragments on a cassette tape, blazes a trail of reverberations, scrapes and wobbles. In performance, the boys are known to get in on the act, helping pop to make his sounds while mom handles the movement. This music isn’t particularly pacific, but it’s pretty close to the way kids actually play when no one’s stopping them. The technologically adept will find a QR code inside the CD’s gatefold, which unlocks the short film, “Safe Piece.”

Bill Meyer

RXM Reality — Advent (Orange Milk)

Advent by RXM REALITY

Long-time Hausu Mountain dweller Mike Meegan has relocated to the Orange Milk abode, taming his frenetic brand of electronic mayhem in the process. The blown-out, off-the-grid beats are still plentiful, but with Advent Meegan injects his tunes with melody. He’s also allowed himself to slow down and relax. The vast expanse of “Character Limit” literally breathes deeply as Meegan allows it to swirl around. He drinks up the pleasant melodic aromas of the track before switching gears and unloading burst after burst of explosive beats. “These Days” comes off as an electro-shoegaze hybrid, with gauzy synth pads that float effortlessly among bouncy percussion clusters. Of course, the signature RXM Reality sound — a hybrid of 1990s video game and blockbuster movie — is present and accounted for in tracks like “Allure,” “Screaming,” and “Grip of Evil.” Yet even these balls of energy are tempered with shades of consonance. Having blunted some of the jagged edges of his frantic brand of electronic music, Meegan fits in nicely among the kooky ranks of the Orange Milk imprint.

 Bryon Hayes

 Macie Stewart — Mouth Full of Glass (Orindal)

Mouth Full of Glass by Macie Stewart

You might already know Macie Stewart as one-half of the complicated indie rock duo Ohmme or for her regular appearances as violinist of choice in Chicago jazz and experimental music scenes, but this solo LP shows another side.  These eight songs are lushly, intricately arranged with strings, orchestral instruments and brass, recorded with precision and clarity, but nonetheless personal and introspective.  “Garter Snake” sheathes flaying honesty with baroque instrumental flourishes. Stewart’s voice is bare and unaffected as she confides, “I am addicted…to indecision,” but she makes riveting choices in framing the melody.  Old-fashioned movie strings swell in the spaces between talking-right-to-you verses; agile guitar chords mark time.  “Finally” begins in bare, Bahian guitar play, as Stewart’s voice flutters and floats an unpredictable but fetching tune.  Strings swoop in at the end of the phrase, lavish and lucid.  The title track unlooses massed, harmonized vocals on the spare architecture of picked guitar, a shock of extravagant sung beauty in an otherwise restrained palette.  Like Wendy Eisenberg, but with different instruments, Stewart weaves post-modern complexity into the delicate fabric of pop songs.  The difficulty — combined with the beauty — makes this music memorable.

Jennifer Kelly

 Stingray — Feeding Time (La Vida es un Mus)

Feeding Time by Stingray

In places where heavy music is played and endlessly debated, 1982 might be most strongly associated with English street punk — see the ersatz “genre” of UK82, which enshrines the year and ties it to acid green liberty spikes and scuffed Doc Martens. Fair enough. But street punk was thoroughly informed by the dirty working-class metal being made by bands like Motörhead and Venom, and this new EP by Stingray celebrates those noisy intersections of influence. Of course, Stingray’s version of celebration likely involves several cases of Bass Ale, an eightball of something white and a fistfight or two. Or five. The English band features members of other current hard-driving acts, including Subdued, the Chisel and Chain of Flowers, but Stingray doesn’t prize currency. The songs are short, hard and nasty, landing their punches like a “Bomber” and also like a bunch of “Death Dealers.” The guys in Stingray understand the past they’re drawing on, but does music like this have a future? Fuck knows. Do any of us have a future? Does the earthball? The tunes are less interested in such flights of existential angst, and more intent on their rapacious appetites for speed, sweat and raunch. It’s Feeding Time. Get it while you can.

Jonathan Shaw

Nick Storring — Newfoundout (Mappa)

Newfoundout by Nick Storring

You’ll miss some towns if you blink. The ones that have given their names to the compositions on Newfoundout might confound both eyesight and your GPS, since they are all ghost towns in Ontario, Canada. The music that Nick Storring has made to go with these titles is correspondingly elusive. Performed entirely by the composer, using strings, percussion and whatever bric-a-brac happened to be at hand, it is by turns lush, staccato and propulsive. “The sounds are never particularly difficult, but they rarely telegraph where they’re going, so if you listen passively, sooner or later you’ll look up in dismay, wondering how things got from where they were to where they are now. “Khartum,” for example, starts out sounding a lot like “In A Silent Way,” and finishes up sounding like a respectfully paced conference of grandfather clock chimes. So, put your head back and your ears forward, and let Mr. Storring do the driving. 

Bill Meyer

Ten Ka — Sonic Geometry: Structures, Patterns And Forms (Jersika)

sonic geometry: structures, patterns and forms by TEN KA

Ten Ka is experimental side project of Deniss Pashkevich, a Latvian woodwinds player. The album title’s invocation of mathematics is apt, since this music is produced by dissimilar musical values acting upon each other. Pashkevich’s sound on tenor sax is full and soft around the edges, which is probably what it takes to be a working musician in a part of the world that doesn’t have much of a jazz tradition; on flutes, and especially the Bansuri, he hints at a far Eastern vibe. He also plays Fender Rhodes and prepared acoustic piano, bringing in further elements of user-friendly jazz, but also some sharp, Cage-y edges. But most of the nine tracks on Sonic Geometry: Structures, Patterns And Forms feature modular synths, which provide a foundation of pulsing bass patterns and some intriguing disruptive, acidic sizzles.  It all adds up to something simultaneously familiar and out of the ordinary.

Bill Meyer

 Luis Vicente / Vasco Trilla — Made Of Dust (577 Records)

Made of Mist by Luis Vicente & Vasco Trilla

Not many improvisational settings are more exposed that the drums and trumpet duet. The two instruments are sufficiently different in timbre and frequency range that you can’t help but hear everything each player does, and also how those actions fit together. Trumpeter Luis Vicente and percussionist Vasco Trilla approach this situation with a combination of relaxed consideration and wholly earned confidence. Vicente can power-play when necessary, but for this session, he exercises restraint, using mutes to extract the most lyrical and vocal sounds he can muster. Trilla likewise seeks out the extremities of his kit, drawing continuous ribbons of widely differing characters, such as the alarm clock-like clatter and low-scrubbed drumskin heard on “Swirling Mist.” Their interactions are not just sonically novel, but trusting and deeply intimate.

Bill Meyer   

 Simon Waldram — So It Goes (Self-released)

So It Goes by Simon Waldram

Simon Waldram’s refrain-heavy eighth solo album, So It Goes, is a song cycle on love, loss and acceptance influenced by classic indie pop bands like The Field Mice, The Fat Tulips and The Go-Betweens. Indeed, it was the Grant McLennan-channelling “Don’t Worry,” a plaintive reassurance to a past lover, that initially caught my attention. But “I Miss The Sun” betters it, really laying on the Hammond, and squeezing in something noticeably absent from the other songs: a bridge. “When will we see the lull again/Feels like these dark days will never end,” Waldram sings, reestablishing buoyancy as it winds down repeating the title phrase. There’s promise elsewhere, like on the 1960’s-flavored psych strummer “Boats In The Sky,” before it lifts its bow in harmonic repetition a few too many times without checking its fuel gauge first, stranding itself in the firmament. “The Wild Wanderings of Wildebeests” is another one with potential, but its flawless first verse’s worth of strum and fuzz just recurs instead of building towards something of greater impact. The record hits its lowest point on the nearly nine-minute “Windswept,'' a “Primitive Painters'' rip that goes nowhere productive. When Waldram starts repeating ad infinitum “I miss you so much/ I can’t let go of this dream of ours,” you wish you could step in and save him from himself. A pleasant enough acoustic instrumental with birdsong follows in the form of “One May Afternoon,” serving as a much-needed palate cleanser and bridging the gap to the album’s closer. However, “Shimmer” is another moaner that never quite rounds into shape and instead fades out and then, unremarkably, back in.  There’s an EP’s worth of good material on So It Goes, but as an album it only ends up burning itself with the flame its carrying, leaving the listener wondering, “Who hurt you, Simon?”

Chris Liberato

[betweenthetimeandsound]

Three Minutes to Eternity: My ESC 250 (#160-151)

(Author's note: Sorry about it being a couple of days late--I wanted to rest a bit--which I will do again because we hit the top 150--and had to download quite a bit for the gifs. Please enjoy this bunch, though!)

#160: Dihaj -- Skeletons (Azerbaijan 2017)

“When we hook up it’s fantasy We’re just like alchemy I’ve never been so ready”

I completely neglected Skeletons during the contest, as I didn't listen to it beforehand and didn't watch songs 12-17 when watching the grand final live. Along with "Grab the Moment" that year, it sandwiched a horrendous stretch of songs in #13-16.

Despite this, I listened to it a lot afterwards. It’s equal parts intriguing and mysterious, especially with the almost-nonsensical lyrics with interesting images. I always imagined a concept film in which the main character meets a potential love interest in a night club, only to go too far and almost kill him.

The atmosphere the staging created was a bit strange, in that it incorporates masks and a world inside a school chalkboard. For each of these aspects, Skeletons is my favorite Azeri entry ever—it stands out in a unique way because of its eccentricity.

Personal ranking: 5th/42 Actual ranking: 14th/26 GF in Kyiv

#159: Tommy Seebach -- Disco Tango (Denmark 1979)

“Hun er en stjerne på et dansegulv Slår John Travolta i en rock ‘n’ roll På diskoteket ta’r hun kegler, og der ka’ man se Dem stå i kø og skæve, hver gang hun gør sin entré”

“She’s a star on a dance floor Beats John Travolta in a rock ‘n’ roll At the disco she’s scoring, and there you see Them queue up with an eye on her, every time she enters”

Disco and tango are two genres you don’t expect to work together, despite them being so fun to dance to. Despite this, Tommy Seebach makes it sound natural. There’s a bit of adjustment needed when listening to it, but it’s equally flirty and groovy all at once, as one gets to know the many quirks of the song.

The live performance definitely elevates it--not only with Debbie Cameron's enthusiasm (she would come back two years later with Tommy in a bigger part), but also because of the orchestration. The mix with strings and castanets in the chorus was definitely the best part and gets me shaking.

It’s different for Denmark, but definitely a song you should put in a disco (*clap clap*) from time to time!

Personal ranking: 3rd/19 Actual ranking: 6th/19 in Jerusalem

#158: Poli Genova -- If Love (Were) a Crime (Bulgaria 2016)

“Unafraid, never fade When it’s dark we illuminate”

Bulgaria’s comeback after a two-year hiatus sees them with a hyper energetic pop song with an uplifting message. While it seems like a simple one at first, the diverse Eurovision community can embrace it for its openness and determination. The great production upholds this gem, and the lighting on stage adds to it, especially in the end.

Poli definitely makes this song come to life with her vocals and her upbeat personality, making it shine even more! (And I did like her costume--not something for everyday-wear, but definitely one fitting the song and a bit avant--garde too). Compared to her first entry, which fights against those who put her down in a pop-rock way, she delivers with fun.

And they got their first qualification in nine years and a start to a nice run of entries as a result.

Personal ranking: 5th/42 Actual ranking: 4th/42 GF in Stockholm

#157: Athena -- For Real (Turkey 2004)

“All I know is you don’t want to be part of the crowd Realise yourself You say it but don’t feel it, what you sayin’ has no meanin’ Don’t hide your soul”

For their host entry, Turkey brings upon Athena, a ska-punk (and former metalcore) band with this bouncy song. And it’s such a great one—filled with energy and fun. A bit different from what we expect from Turkey, but it shows what their music industry could bring.

It's lively and fun, with Gokhan leading the charge with his presence. At times, he shouts more than he sings and it seems like he didn't dress up for a more formal event. That said, there's still a lot of charm in "For Real's" performance, ranging from the sharks in the background to the "Hi mom!" and the peace jacket. It comes along in an eccentric package, and makes for a solid predecessor to their rock-based entries four years later.

And it definitely hints at being oneself, which celebrates individuality in a fun way.

(Plus, that's the reason why my top three in 2004 isn't the actual top three. Haha)

Personal ranking: 3rd/36 Actual ranking: 4th/24 in Istanbul

#156: Katarína Hasprová - Modlitba (Slovakia 1998)

“Láska kráčam údolím sĺz A len ty môžeš zmierniť môj žiaľ Túžim sa dotknúť tvojich pier, tvojich rúk Prosím vráť sa mi, nevzdaj sa nás”

“Love, I am walking the valley of tears Only you can get me out of misery I long to touch your hands, your lips Please, come back, do not give up”

A comment on the interwebs suggested anybody who has Horehronie as their favorite Slovak entry has never listened to this. I could understand why people would gravitate towards the former, but this stands out more for me (and not just because of the religious title).

The introduction reminds me of “Kiss From a Rose”, which here, is less meant to be about plagiarism and more about the 1990s feel of it. Musically, it takes the same medieval elements from other 1990s entries, but it tells a different story, one about trying to fix a relationship on the rocks. It builds well, going from an otherwise delicate ballad to something more explosive when one gets into the chorus. The orchestration really helps it too!

Modlitba got six points from Croatia...and then nothing else. It's still a shame it did so poorly, but as a potential nul-pointer too? Sad.

Personal ranking: 4th/25 Actual ranking: 21st/25 in Birmingham

#155: Melovin -- Under the Ladder (Ukraine 2018)

“Nothing but your will sets you on fire Fire lasts forever...”

The song that inspired a fervor from Melovin’s fans, including me! While I’m not as enthusiastic as them, I still love this song—it's pulsating and intense, with quite interesting lyrics about getting up again(with some enunciation issues). There was a point where the song got a musical revamp, and I feared it would make the song worse, but fortunately it kept the whole thing intact with a few production changes.

Melovin proves he's a talented showman, and seeing the stairs go aflame made me smile (even though I preferred the effect more on his Vidbir performance; the flaming LEDs really helped there). Good thing the televote swooped in, because last place in the jury vote feels really wrong (though it could be because of said pronunciation).

Plus he has some good post-Eurovision songs—check them out! My favorite is З тобою, зі мною, і годі.

Personal ranking: 6th/43 Actual ranking: 17th/26 GF in Lisbon

#154: Joci Papai -- Origo (Hungary 2017)

“Be kell csuknod a szemed Úgy láthatsz meg engemet Hogy meghódítsd a szívem Ismerned kell lelkemet”

“You need to close your eyes So you can see me To conquer my heart You have to know my soul”

While Az en apam (#240) touches me more than Origo, one can’t deny this is the more creative song. It combines not only Romani influences, but also a dark pop foreground which allows them to shine.

In addition, the lyrics are absolutely masterful—they are rooted in Joci’s story and packs a punch in the message. It's tells of a relationship with someone who doesn't accept him for who he is (cursing her forever as a result), along with how Joci grew up and used music as a weapon for himself and his people. He's a compelling storyteller, and you can tell he sings it from the soul.

Combined with a compelling rap and a neat violin instrumental, you get a completely unique experience.

Personal ranking: 4th/42 Actual ranking: 8th/26 GF in Kyiv

#153: Blanche -- City Lights (Belgium 2017)

“All alone in the danger zone Are you ready to take my hand?”

Blanche had quite the journey in Eurovision--first her song gets released, and immediately becomes a contender. Then she has problems performing in shows and during rehearsals, at which the odds star dropping like flies. Then her semi-final performance was notably wobbly, but she still qualifies and places fourth.

Despite the staging errors (I would've personally have made the lighting gold rather than natural-colored), it was fully deserved and I think it was better than the eventual top three.

The vibe of this song reminds me of walking down the streets of Tokyo, because of the visuals involved. Everything is in a rush, but one's not sure There’s also tension, because of the dark electronic sound that dominates it. Despite Blanche’s nervousness on stage, it worked well with the song—it amplified the sensation of walking down a wire and wondering if the relationship will work. A startling entry from Belgium and one that really strikes at modernity.

Personal ranking: 3rd/42 Actual ranking: 4th/26 GF in Kyiv

#152: Frances Ruffelle -- We Will Be Free (Lonely Symphony) (United Kingdom 1994)

“Welcome to the land Where all our dreams are planned And fighting is a thing to do...”

The first of the UK’s attempts to modernize the contest in the 1990s, it’s a cool, funky song with interestingly-written lyrics. Someone compared the chorus to a protest slogan for social justice movement, but the rest of the song discusses a complex relationship. The opening lines are a highlight in particular, and everything flows fantastically.

A few bits of the live-performance went out of hand, like with the orchestration and Frances’ vocals, explained by how she was bopping up and down and was told that she needed to keep that down. As a result, she couldn't focus on her vocals and they turned out a bit sharp at times.

That said, she had a pretty dress and charming look about her. And while it placed in the top ten, I think it should've done better.

Personal ranking: 4th/25 Actual ranking: 10th/25 in Dublin

#151: Sebalter -- Hunter of Stars (Switzerland 2014)

"I state my heart has been well trained I’m gonna be your candidate I am the hunter and you are the prey Tonight I’m gonna eat you up"

This word-salad of a song makes it quite hard to choose a good lyric, as it has a bunch of nice lines but almost no meaning to them. Reading them again, it seems like one is trying to get his affections to like him, to no avail, unfortunately.

But beyond that, we get a fun and wholesome song, which features a prominent banjo and even a violin solo! From the opening melody I can't help but smile, or even whistle along at points (everytime the latter synchronizes, I feel a bit of accomplishment). It's a bit more folksy than what the contest oriented on the time (slickly produced pop with a bit of dubstep), which makes it even more special.

Finally, we have Sebalter himself, who really carries his own song! Not only is he quite good-looking, but also very charismatic and knows how to have a good time. While Swiss entries have become better known since then, you can't replicate Hunter of Stars; it's too special!

Personal ranking: 5th/37 Actual ranking: 13th/26 GF in Copenhagen

[vipwees]

What are the Popular Music T-shirts in the UK?

Popular music t-shirts in the UK reflect a rich and diverse music culture. Fans feel proud wearing garments that pay homage to their favorite artists and bands. These t-shirts serve as both fashion statements and expressions of musical passion. Let's explore some of the popular t-shirts you're likely to find in the UK:

1. Classic Rock Icons:

Celebrating the music of the Beatles, Stones, Stones, Zeppelin, Queen, and Pink Floyd on a T-shirt is a perennial best seller. The music of these groups is classic; it will appeal to listeners of all ages.

2. Band Logo Tees:

A band t-shirt with a logo is popular among music fans in the UK. Symbols of rock culture include the lightning bolt of AC/DC, the smiley face of Nirvana, and the hammer and sickle of Metallica.

3. Festival Merchandise:

Many devoted listeners attend music festivals like Glastonbury, Reading & Leeds, and Download. Festival-goers will often wear their t-shirts as a symbol of participation.

4. Indie and Alternative Bands:

The independent and alternative music scene in the United Kingdom is robust. Those who are passionate about the Arctic Monkeys, Oasis, Radiohead, and The Libertines should own t-shirts with the bands' logos.

5. Britpop Nostalgia:

Britpop was a seminal musical movement of the 1990s, and its influence can still be heard today. The era's nostalgia is captured on t-shirts showcasing bands like Blur, Oasis, and Pulp.

6. Punk and Post-Punk Revival:

The resurgence of interest in punk and post-punk music is reason number six. You can't go wrong with a tee featuring bands like the Sex Pistols, the Clash, Joy Division, or the Smiths.

7. Political and Protest Tees:

Some music t-shirts in the UK convey political or protest messages. These shirts often tie into songs or albums with powerful social commentary.

8. Album Artwork:

The artwork for an album is a key component in the sale of related items. The Clash's "London Calling" and Pink Floyd's "The Dark Side of the Moon" t-shirts, for example, have become highly sought-after collectibles.

9. Pop Icons:

Pop music has its share of devoted fans. T-shirts featuring pop icons like David Bowie, Prince, Madonna, and Michael Jackson are classic choices for music enthusiasts.

10. Contemporary Artists:

Popular t-shirt designs keep coming out of the modern music industry. Adele, Ed Sheeran, Dua Lipa, and Harry Styles are just a few of the musicians whose merchandising has a devoted following.

11. Hip-Hop Icons:

The United Kingdom is home to many hip-hop fans. Hip-hop icons like Tupac Shakur, The Notorious B.I.G., and Eminem have inspired a craze for merchandise with their names and likenesses on T-shirts.

12. Grime Icons:

Although it began in East London, the grime genre has since gone global. British youngsters love to wear T-shirts showcasing grime artists like Skepta and Stormzy.

In the UK, music t-shirts serve as a concrete connection to the rich history and contemporary vibrancy of the music scene. These shirts not only celebrate the music but also allow fans to wear their passion proudly for all to see.

Visit Us, https://vipwees.co.uk/

Original Source, https://bityl.co/LMpx

[circuit-music]

2020 Music Recommendations

2020 – WHAT A SHIT YEAR! There was so much craziness in those 365 days – from politics to a pandemic. Music was often times one of those things we could take comfort in or use it as a tool to express a range of emotions. I’m always surprised when compiling these list (of which I’ve been doing for 20+ years now it seems) that no matter the state of the world, there is always an overabundance of great music to be discovered. 2020 musically, delivered - including surprising returns from some bands who’ve been rather quiet in the past years like Consolidated, Cabaret Voltaire, and Portion Control.  

The majority of what I listen to is electronic based music, with techno-body music being my favorite and there was STILL PLENTY of that in 2020 from labels like Aufnahme+Wiedergabe, Fleisch, Bite, X-IMG, Sonic Groove, SOIL, and more. Occasionally something a little lighter like the ethereal shoe-gaze goodness of Mint Julep (“Stray Fantasies” was an amazing record), or the post-punk of House of Harm (wonderful new discovery this year with “Viscous Pastimes”) and Sure (you all slept on “20 years” in 2020) works its way in to my listening. I still find synth pop from the likes of Riki, Korine, Tanz Waffen and Wingtips wonderfully appeasing. The wave material from the likes of Handful of Snowdrops, Linea Aspera, Zanias, Hante., Minuit Machine and Replicant was perfect for those melancholy moods. I even dipped into some aggressive near metal stuff this year from the likes of Pudeur, ESA and Youth Code – perfect for those days of anger.  Oh, and I was thrilled to see a lot of exclusive, unreleased and remixed Curve material surface this year – a band who embraces several genres (walls of guitar, shoe gaze, industrial) and moods.

This isn’t a top 10, top 25 or even a top 100. Instead, it’s an A-Z recommendation list encompassing many genres as those lines are getting more and more blurred. A good tune is a good tune, regardless of genre.  

HIGHLY encourage you to get out there and seek out new music; Visit the record stores, go hear a new DJ, fire up Spotify or another streaming service, check out some new music via podcast, DJ mixes, label sites, online retailers, even Facebook. One of the best sources for discovering new music is BandCamp - who in 2020 with the pandemic started BandCamp Fridays in which the site waived its normal fees to assist artist impacted. Taking place, the first Friday of every month, those will continue in 2021. There’s a plethora of discoveries to be found out there. If you do the work, you’ll be rewarded ;)     Speaking of Spotify – I made a playlist this year featuring plenty of the bands on my list. There’s at least a track or more from the artist who have a presence on Spotify. Sadly a few bands on this list aren’t on the platform, but check BandCamp and you can have a listen. Here’s the link:   https://open.spotify.com/playlist/02kQJZE7uvJxwHJD8j8zrh?si=SHlP4mVRTuaRejh6So3Mig

As in years past I’m certain I missed a few things, ignored the hype on certain releases or just plain forgotten something. It’s a chore to compile this list, but I love to do it. There’s a ton of new pioneering music out there for sure waiting to be discovered and it’s the “what’s next” that keeps me a motivated music fan. There’s never a dull moment in speaking, writing, DJ'ing or promoting new music, so I’ll keep doing it and hopefully be a guide for you all ;).   If it needs mention and I overlooked it - I may do an addendum in the next week or so. Anyways, got your notepaper and plenty of beverages ready? Don’t be a TL:DR (Too Long: Didn’t Read) fool. Read up. Enjoy the music of 2020!

Onwards with the list!!! :D  

2+2=5 - “Hidden In Plain Sight “ (COUP)  

Absolute Body Control   - “1980/2020” 3xLP (Oraculo Records)    

Agent 15   - “Voices In My Head” (Drone)  

Ah Cama-Sotz - “New Skin for Old Tribals “ (Self-released)  

Andi - “Corpse to Corpus” 12” (Aufnahme+Wiedergabe)    

Arabian Panther - “The Way of the Pentinent” EP (SOIL)  

Arnaud Rebotini – “Workout: This is a Quarantine EP6” (Self-released)  

Autumns - "You Always Taught Me Better" LP  (Detriti Records)  

Benedek - “Mr. Goods” 12” (L.I.E.S.)  

Blac Kolor   - “Extinction” EP  (Aufnahme+Widergabe)  

Blacksmith   - “Dominated” (X-IMG)    

Blitzkrieg Baby - “Remixed” (Aufnahme+Wiedergabe)    

Blush Response   - “Void In” LP (Megastructure)   - “Void Out” (Megastructure)    

Body Beat Ritual   - "Raw Dogs” EP (Pleasure Corp)  

Body Divide   - “Pleasure From Pain” (Squarewav)    

Cabaret Voltaire   - “Shadow of Fear” LP (Self-released)  

Calvary Stone - “Hate Unit” (Soil)  

Caustic - “The King of EBM” (Self-released)    

Cervello Elettronico - “No Sides” EP (SquareWav)  

Choke Chain - “Chain Tactics” (Self-released)   - “Grave” (Self-released)  

Chris Shape - “Shaped to Deform” (Unknown Pleasures Records)    

Chrome Corpse   - “Detecting Movement” Ltd. Edition 12" EP  (Oraculo Records)   - “Helmet Mounted Display” (Self-released)  

Chrome Corpse / Decent News   - “Split” (Self-Released)  

Codex Empire   - “Broken by Fear" Ltd. 12” (Horo)     - “Protected by Rage” 12”  (Aufnahme+Wiedergabe)  

Cold Cave   - “Waving Hands” (self-releaesed)  

Comfort Cure - “Serpentine City” (Rec.Body.Ltd)    

Consolidated - “Capitalism” (Self-released)  

Crystal Geometry   - “Samiam” EP (Sacred Court)   - “Senestre” 2x12” (Sonic Groove)  

Curve   - “Blindfold EP - Bootleg EP Series 1”  (Self-released)   - “Curve Oddities Bootleg Series 3” (Self-released)   - “Curve Oddities Bootleg Series 5” (Self-released)   - “Horror Head Raw DAT Mixes Bootleg Series 4” (Self-released)  

Cyan ID   - “Blurred Revelation” (X-IMG)  

Dive   - “Where Do We Go From Here” Ltd. Ed Box set (Out Of Line)    

E.L.I.   - “Dying to Live” (SOIL)    

E.S.A.   -  “Burial 10” (Negative Gain Productions)   -  “Eat Their Young / The Scorn” (Negative Gain Productions)  

Einstruzende Neubauten   – “Alles In Allem” (Potomak)  

Evil Dust   - “Desolation” (Crave Tapes)    

Fatal Morgana   -  “The Destructive Remixes” 12"   (Mecanica Records)   - “The Final Destruction” 2LP   (Mecanica Records)  

Filmmaker   - “Reinvent” 12” (Soil records)  

Fixmer - "Invasion” 12” (Bite)    

Fixmer/McCarthy   - “Unreleased From the Archives" (Planet Rogue Records)    

Foreign Policy   - “Watching Existence” 12” (X-IMG)  

Fractions   - “Nite NRG” (Monnom Black)    

Further Reductions - “Array” 12” (Knekelhuis)    

Hakai   – “No Flesh Shall Be Spared” 12” (Megastructure)  

Halv Drom   -  “Slum Vatic” LP (Fleisch)  

Handful of Snowdrops   - “Asymetrical” (NanoGénésie®) - “Echoes -The Complete Cover Collection” (NanoGénésie®)   - “The Four Winds” (NanoGénésie®)   - “The Impossible Dream” (NanoGénésie®)   - “Watch Me Bleed / Theme for Great Cities” (Self-released)  

Hante.   - “Fierce - Remixes & More” LP (Synth Religion)      

HKKPTR   - “Macht & Ohnmacht” EP (Aufnahme+Wiedergabe)    

House of Harm   - “Vicious Pastimes” LP (Avant!)  

Human Performance Lab   - “Impact Situation” 12"  (Aufnahme+Wiedergabe)  

Inhalt   - “Simulation” 2xLP Remixes (Mechatronica)  

Iron Court   - “Etched Forseights” (Detriti)    

Istigkeit & Angel Karel   - “You A’Int No Punk, You Punk”  (RND. Records)  

IV Horsemen   - “Compilation Vol. 1” (Self-released)     - “Human Crash” LP (Fleisch)    

Karger Traum   - “III” LP (DKA Records)    

Kenny Campbell   - “Blackest Ever Buckfast” (Drone)

King Dude   - “Full Virgo Moon” LP (Van)    

KLACK   - "Two Minute Warning” (Klackprodukt)   - “Move Any Mountain” (Self-released)     - “Catching Up with Klack” (Razgrom)   - “Distancing” (Self-released)   - “Move Any Mountain” (Self-released)     - “Probably” (Klackprodukt)  

Konkurs   - “Terminal Stage" (Megastructure, X-IMG)  

Kontravoid   - “Live from the Void” (Self-released)     - “Too Deep Remixes” (Fleisch)    

Korine   - “The Night We Raise” LP (Data Airlines)    

Kris Baha   - “Barely Alive” 12” (Emotional Especial)     - “Starts to Fall” 12” (Power Station)    

Kutkh Jackdaw   - “Sweat & Thunder EP and remixes” (Dark Disco)      

Lbeeze   - “Induced Expressions” (Phormix Tapes)    

Liebknecht   - “Demos The H4AR 2020" (Self-released)   - “Koln : Total Harmonic Noize remix” (Self-released)    

Linea Aspera   - “LP II” (Self-released)    

Looky Looky   - “Are You There Beach?” (Self-released)    

Machino   - “Ciudad Violenta” (X-IMG)    

Maedon   - “Escape To Berlin" (Sonic Groove)      

Marc Ash   - “Mirror Glaze Lavish" 12" EP (Fleisch)  

Marina Aleksandra   - “Animal Industrial Complex” (Randolph & Mort. mix)  

Max Durante   - “Fear and Desire” 12”  (Aufnahme+Wiedergabe)  

Mind | Matter   – “Souvenirs Brises” (Intervision)  

Mint Julep   - “Stray Fantasies” LP (Western Vinyl)    

Minuit Machine   - “Don’t Run From the Fire” 12” (Synth Religion)    

New Frames   - “Outer Limits” 12” (Bite)   - “RNF2” 12” (R Label Group)   - “Stylized Fear” 12” (Haven)    

Nordstaat   - “Singularity Second Coming” (X-IMG)  

NZ   - “More Of Us” 12” ltd. (Infacted Records)    

Objekt Clermont   - "Zeitgeist” EP (Self-released)  

Ofelia Ortodoxa   - “Maleficio” (Soil)    

Pablo Bozzi   - “Last Moscow Mule” (Dischi Autunno)   - “Walk on Wire” EP (Bite)  

Phase Fatale   - “Scanning Backwards” 2xLP (Osgut Ton)  

Portion Control   - “Head Buried” EP  (Portion-Control.Net)   - “Seed  1” EP (Portion-Control.Net)   - “Seed 2” EP (Portion-Control.Net)  

Pudeur   - “Magie Noire” (Area Z)    

Randolph & Mortimer   - “Enjoy More” 7” (Self-released)   - “Manifesto for a Modern World” 2xLP (Mecanica)     - “They Know We Know They Lie” (Self-released)   - “Union of the Faithful” (Self-released)    

Reka X Imperial Black Unit   - “Todo Avaricia” 12" EP  (Fleisch)  

Rendered   - “Stone Cold Soul” CD (Audiophob)    

Replicant   - "Regression” (Self-released)     - “Annihilation” (Self-released)  

Rhys Fulber   - “Diaspora” EP  (Aufnahme+Wiedergabe)   - “Resolve” (FR Recordings)  

Riki   - “Riki” LP (Dais Records)

Rommek   - “Break The Tension” 12” (Leyla Records)    

Salem Unsigned   - “Blood Origin” (RND.r recorcds)    

SARIN   - “Moral Cleansing Remixed" (Bite)      

Schwefelgelb   - “Der Puls Durch Die Schläfen Instrumentals" (n-Plex)     - “Der Puls Durch Die Schläfen" (n-Plex)     - “Die Stimme Drängt” 12"  (Cititrax)  

SDH - “Against Strong Thinking" 12" (Avant!)  

Size Pier   - “Typhoon in Busan” (X-IMG)    

Soft Crash   - “Spitzkrieg” 12” EP  (Bite)  

Soj   - “Land of Lovers and Hammers” (Infidel Bodies)   - “Slow Burn” (Industrial Complexx)    

Statiqbloom   - “Asphyxia Remixed” (Synthicide)      

Sure   - “20 Years” LP (Weyrd Sun Records)    

T_ERROR 404   - “Holographic Skull” (X-IMG)  

Tanz Waffen   - “Led Astray” (Self-Released)    

Teatre   - “Crime Imagery” (Self-released)  

Terrorfakt   - “Achtung 2020 Remixes” (SquareWav)    

The Marquis - “Poison” (Self-released)   - “Scab” (Self-released)    

Trauma Phase   - “Human Caused Disaster Response” (Detriti)   - “The Origin of Social Disabilities” (Self-Released)  

Unconscious   - “Regnum Novum” (X-IMG)     -"Slaves of System" LP  (Detriti)  

Unhuman   - “Voices of Distress” 12” (Bite)  

Various Artisits - “ASM II “ (Forkha) with: Chrome Corpse, Mind|Matter, The Undertaker’s Tapes, Evil Dust and more  

Various Artist -  “Meta Moto 4” (Meta Moto) with: Borsis Barksdale, Raw Ambassador, Filmmaker, Teatre and more

Various Artist - “Antikhrist Visions vol. II” LP (Industrias Mekanikas) with: Downwell, Delectro and more  

Various Artist - “BOY Records – Timeless Technology 1988 – 1991" 4xLP (Mecanica) Retrospective box of the legendary Boy label releases.  

Various Artist - “Crime Violente Vol.4”  (Up North Records) With: Calvary Stone, Lbeeze, Meshes and more  

Various Artist - “Dystopia in Action” 12” (X-IMG)     with: Alpha & Necromante, Kris Baha, Human Performance Lab and more  

Various Artist - “Ecdisis Vol 2” (Frigio Records) Snag this for the outstanding edit of Portion Control’s “Chew You to Bits”

Various Artist - “Murder 01” 12” (Murder) with: Codex Empire, Crystal Geometry, JK Flesh and more  

Various Artist - “Northern Nightmares Vol.1” (Up North Records) with: Autumns, Cardopusher, Teatre, Hate Magnum Opus and more

Various Artist - “Northern Nightmares Vol. 2” (Up North Records) with:  Notausgang, NGHTY, Violet Poison and more

Various Artist - “Sonic Groove: 25 Years 1995-2020" 2xLP (Sonic Groove) with: Orphx, Crustal geometry, Maedon, Rhys Fulber & Portion Control and more

Various Artist - “Uncanny Valleys Vol. 1” (Area Z) with: Chrome Corpse, Sarin x Imperial Black Unit, Celldod, IV Horsemen and more

Various Artist - “Uncanny Valleys Vol. 2” (Area Z) with: Ah Cama-Sotz, 3.14, MDS51 and more  

Various Artist - “Valley of Tears vol 1" 12” (Soil)   with: Imperial Black Unit, Fractions, Exhausted Modern and more

Various Artist - “Valley of Tears Vol. 2” 12” (Soil) with: SOj, Djedjotronic, Years of Denial and more  

Various Artist - “Seven Years of Delirium" (Liber Null)   with: Blush Response, NGLY, Zanias, Celldod, Phase Fatale and more  

Various Artist – “Detriti Split 1” 12” split vinyl (Detriti) with: Black Sun Dreamer and Trauma Phase

Various Artist – “Detriti Split 2” 12” split vinyl (Detriti) with: Mind | Matter and Iron Court  

Visceral Anatomy   - “Modern Anguish” EP  (Oraculo Records)  

Visitor   - “Technofossil” (Braid Records)  

Wingtips   - “Tears Of Pearls" (Self-released)    

Youth Code   - “Puzzle” (Self-Released)    

Zanias   - “Extinction” 12” (Fleisch)     - “Harmaline” (Self-Released)    

Zola Jesus   - “Live at Roadburn” (Roadburn Records)