This reissue of a groundbreaking, out-of-print album, Botch’s We Are the Romans holds the emotions of its time, the musical incarnation of millennial anxiety.
Ron Anderson’s The Ashfield Session features early takes of the Secret Curve material from Anderson’s famed PAK trio. This thing will blow your mind.
With their third LP Hellfire, Black Midi continue to put out adventurous and challenging music that keeps listeners on the tips of their toes.
Norway’s Mall Girl combine powerful math rock with alt-pop dreaminess on their debut album Superstar, where languid melodies reside with fast tempos and technical playing.
Alt-rocker Justin Mayfield talks about Ghedtair Composite, a hypnotic blend of Armenian folk standards mixed with a math-rock meets indie-folk hybrid.
Black Midi’s Cavalcade is a great LP, and though not a fully brilliant or complete masterwork, it will leave many others imitating these guys sucking wake.
Black Midi’s Cavalcade displays superlative skills, fierce chemistry, and avant-garde vision, offering spellbinding performances while also falling prey to sonic tautologies and circuitousness.
Slint are sounding even better as the long years go on and on. It's a testament to the source material that we're still revisiting, remixing, and re-releasing all these decades later.
Between the Grooves examines lowercase's Kill the Lights, a great marriage of slowcore and post-punk: raw, angry, sullen, and very much alive almost all these years later.
Everyone's favorite noise rock curmudgeon, Steve Albini sounds off as he prepares to release an eerie score to a horror film.
SAME's debut full-length, Plastic Western, flirts with everything from Pavement to post-rock.
Tautology I's six songs lack the musical sorcery of post-rockers usually mentioned in the same breath as El Ten Eleven.
