St. Louis trio the Lion’s Daughter specialize in the kind of doom metal that derives itself more from Neurosis than Candlemass: it’s punishing, viscerally intense, harsh, and not above employing some atonal noise to make things even more unsettling. At one point a little Jesus Lizard and Godflesh creeps into the music as well, which you hear on “Four Flies”, a track from their upcoming third album Existence is Horror.
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French duo Housse de Racket claim to have immersed themselves in as wide a variety of music as possible in search of inspiration for their third album The Tourist. “We listened to Fleetwood Mac, Spacemen 3, XTC, Steel Pulse, Alan Vega, Ravel, Laurie Anderson, Miles Davis, Television… Everything we could get our hands on,” the guys say, and indeed you hear a staggering variety on the new record, which evokes Giorgio Moroder one minute, the Beatles the next, and Phoenix the next.
Kevin Korber: Junior Boys’ music always had contemplative qualities that revealed themselves over repeated listens, which is why “Big Black Coat” is such a surprise. This is as immediate as Junior Boys could possibly get, using tones of Detroit techno to craft something sinewy and sinister, which is something I never thought I’d say about a Junior Boys track. At its peak, it’s a straight-up banger, a shocking evolution from a group that clearly isn’t afraid to change things up. [7/10]
Best known for an aggressive yet melodic style of punk rock similar to that of the Distillers, Chicago queercore band 8 Inch Betsy were on the cusp of a breakthrough thanks to a reputation as a terrific live band and the strong 2007 debut This Time, Last Time, Every Time. Although the follow-up The Mean Days was recorded over the course of several years since 2010, it was never quite completed, and sadly this past January singer/guitarist/songwriter Meghan Galbraith passed away at the age of 35. As a tribute to her, The Mean Days will finally be released posthumously by Knox Records on 13 November, and you can hear the new track “Grotesque” below, a song that was not only a departure from the band’s sound but was never supposed to be on the album in the first place.