Chat Pile’s full-length debut God’s Country is a grim yet thrilling soundtrack to American decline, drawing on heavy traditions from nu-metal to slasher films.
SCALPING’s Void energetically captures music designed for a club/real-time environment and hybridizes any number of EDM, punk, and metal precursors.
Brighton post-punk/metal five-piece DITZ come out hard and dark on their debut ‘The Great Regression’, delivering an album of urgency and visceral intensity.
In/Out/In, a collection of almost entirely instrumental tracks recorded during Sonic Youth’s final decade, would be a crucial record if it was the only thing they ever recorded.
Mephisto Halabi’s The Arabic Room blends eastern exoticism, circuit-bent electronics, and some of the heaviest free improvisations you might ever hear.
Liars’ founding member Angus Andrew talks with PopMatters about revisiting the band’s past work and creating a new sci-fi album, The Apple Drop.
Upper Wilds’ Venus is a glorious cacophony of guitar noise, pounding drums, fuzz bass, and big catchy hooks. It filters guitar heroics through punk energy.
‘Irresistible Bliss’ at 25: Personal Friction Couldn’t Dampen the Musical Chemistry of Soul Coughing
Soul Coughing’s success with Irresistible Bliss shows how the early ’90s grunge music explosion led to the more expansive alternative rock boom of the mid-’90s.
Attic Tapes might be Record of the Year material for those who followed Brainiac back in the day. And it might also be a gem solely for completists.
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.