While the past music from Boston electronic duo Max Lewis and Mirza Ramic concentrated on quieter styles like ambient, dreampop, and even classical and jazz, Swim finds warm, crackling hip-hop beats dominating on every track.
+DOG+ in the studio and +DOG+ live are two different animals cut from the same breed, as documented in this second volume of performances from Southern California’s premiere noise group.
From Beijing, China’s dark underbelly, Thruoutin and Torturing Nurse emerge with a furious blast of harsh noise.
Recorded between 1975 and 1977 before either of the artists had fully established themselves, the mind-blowing collaboration between Hi-NRG producer, Patrick Cowley, and Jorge Socarras, vocalist for SF/NY new wave band, Indoor Life, finally receives its first official vinyl release.
“This is not down in the doldrums fare, rather it is like your perfect beach read, containing all the components for a good time.”
Following 2013’s self-released A Mixtape for the Honeybees, Oakland, CA-based chamber folk experimentalist, Stella Peach, offers her label debut showcasing her vast knowledge of traditional styles within her own unique persona.
Forty-four years after the release of her debut album, Just Another Diamond Day (Philips 1970), but a scant nine years after her sophomore Lookaftering (Fat Cat 2005), legendary Northern English folk-singer, Vashti Bunyan delivers her third and final album, a staggering statement of raw emotion that ends the songwriter’s career with dignity.
Perhaps inspired by the “more democratic” writing approach employed for the album, this Swedish quintet sounds more sharpened and the arrangements more intricate than on 2012’s quiet and contemplative The Names.
After four years of silence, Boyracer reemerge for their final release – four snappy songs defiantly lacking the drama that would ordinarily accompany such an announcement.
With twenty years of collaborating under their belts, Boyracer’s Stewart Anderson and Eric Stoess of Louisville, KY legends, Hula Hoop, get together again for another small slab of vinyl.
Adding to his super-extensive discography, Boyracer’s Stewart Anderson joins Sarandon’s Crayola and David Nichols from Cannanes and Huon for an indie pop extravaganza spanning three continents (North American, Europe and Australia, respectively) and heavily rooted in the psychedelic garage rock of the second Nuggets box set.
Dust on the Radio* are a quintet from Los Angeles, interweaving New Wave and Post-Punk influences from the 70s and 80s for a dark and sleek effect.
Eugene is a fantastically original release from just as unique of a performer.
A year after releasing their debut EP, No Rest for the Unseen, Paris’ Noise Generator prove how far their industrial sound has expanded on their first full-length.
Topeka, KS experimental cellist/multi-instrumentalist Aaron Martin’s latest collaboration is with Oakland, CA drone/psychedelic/metal practitioner and synth/sitar player Joseph Angelo, who also records under the name Luperci.
The sound collages that Topeka, KS-based experimentalist/cellist Martin creates on Comet’s Coma are every bit as alluring and anxiety-alleviating as those on his last solo LP, 2010’s Worried About the Fire.
After seven years with Sony followed by a robust fan-funding campaign, Australia’s Kate Miller-Heidke independently releases her fourth album, highlighting her vocal talents as well as her pop sensibilities.
It’s so rare these days to get warm and beautiful close harmonies in a classical country style, not unlike The Everly Brothers and CommonUnion59 do not disappoint on their new album.
Louisiana-born and raised, now Portland, OR-based Beach manages to make all of Ascension’s 17 songs unique, each one strewn with his wry, witty wordplay, and delivered in his amiable drawl.
“St. Marie’s annual Static Waves compilation hit just around Thanksgiving this year, and it’s a massive three disk compilation, one comprised entirely of Slowdive covers! What a treat for the scene that celebrates itself.”
As 2012’s Scale Model EP showed, this Nashville trio has completely overhauled their sound, from their 2005 seven-song Twilight Dim’s moody and meandering, two-guitar atmospheric rock into more dynamic and direct, synth-fueled dance-pop.
A Pennsylvanian musician set to release his new album, I’ll Be Fine, Jano could have easily been found amongst the folk revival of the 50s and 60s alongside artists like Pete Seeger and early Bob Dylan at his folkiest.
Unbelievably, Dave Plaehn is not a pseudonym for Todd Rundgren, although their breathy, sweet vocals are almost identical.
“Opening track “Chromatique” moves like an ominous mist over and through you before Durant and Edwin charge in with bold musical strokes that surge into a mind storm.”
Madrid’s The Kiss That Took A Trip is the solo project of M.D. Trello. Inspired by the likes of Brian Eno and Steve Albini, Trello has released a new experimental album, Electroforest.
Though it shares many of the same characteristics as their radiant 2013 LP Drawn to You, Close manages to outshine it, thanks to more buoyant production and diverse arrangements.
Twerps have a great record somewhere in them, sadly it’s not Range Anxiety .
Anne-Simone always sounds like she has one foot planted firmly in the future and the other in the past’s idea of the future, making for a fascinating melding of sounds.
Try to imagine a many colored quilt patched with The La’s, and maybe even Paisley Underground faves, The Long Ryders.
At first sight—or rather first sound—*i am Love* may appear to be another band in a long line of indie rock groups like Arcade Fire or Fun., but upon listening to them, you’ll quickly realize something isn’t quite right.
On Ova Nova, this Philadelphia quartet’s distinctive blend of light pop, improvisational jazz/R&B, and angular art-rock feels more hypnotic, fluid, and melodic.
Out of print almost immediately after it was released, Crayon’s sole full-length, one of Sebadoh founder Lou Barlow’s top ten albums of 1994, finally receives its first reissue – on vinyl, no less.
Philadelphia, PA’s explosive Split/Red finally deliver their debut EP containing six caustic songs that live up to the title in every sense.
Fifteen years into their heady brand of sonic mind expansion, New Hope, PA’s Birdie Num Num and the Spirit Squad, the brainchild of vocalist/guitarist Joe Ujj, drops their sixth album like a flaming pile of space junk.
Before he became known as a composer of microtonal electric guitar symphonies, Glenn Branca released several no wave/art rock records that pointed directly to his later work.
Better known as Fantasic Planet in the US, 1973’s French/Czech Cannes award-winning La Planète Sauvage was a masterpiece of psychedelic animation that still resonates today.
On their fourth LP, this decade-old, left-of-center Portland, OR trio sounds less deliberately daft than on past releases. But So Sweet still exhibits enough eccentricities to entice MMS enthusiasts.
Formed in 1972 and finished by late 1975 without releasing an album, Electric Eels (aka “electric eels” in reference to poet e.e. cummings) gave Cleveland, OH the much unwanted slap in the face it deserved.
Having performed together live a few times, guitarist Fred Frith (Henry Cow, Massacre, Naked City) and saxophonist John Butcher (Anemone, The Apophonics, Thermal) entered a studio in 2009 and recorded ten tracks with no overdubs.
After nine years of relative silence, Screaming Headless Torsos, the prog-funk vehicle for virtuoso guitarist, David Fiuczinski, deliver their first studio album with new vocalist, Freedom Bremner.
NYC songstress and Mpress label head Sage follows her exquisite 2012 tenth LP Haunted By You with an even more accomplished, immaculately-crafted eleventh.
West Yorkshire, UK folk experimentalist, Sophie Cooper, delivers her breathtaking third full-length under her own name, cementing her status as the Northern English princess of psychedelia.
An an intimate, honest album, drawing on a unique and complex life.
In a truly bizarre meeting of the Eastern Asian underground, Beijing, China’s Cat AIDS and Osaka, Japan’s Go Tsushima get together for a mind-boggling split cassette release.
A whole year after its initial release as book and CD, Throwing Muses’ epic ninth studio album finally sees a proper vinyl release.
The Workers are primarily a vehicle for New York singer/songwriter Dan Greenwald, and the group has just released a new EP entitled Totem. For the relative heaviness of the EP’s cover artwork, there’s a certain wistful and outsider feel to the songs here.
For his umpteenth release, the creepy, crawly surf master of The Barbarellatones, Robbie Quine, delivers a toned-down, darker version of his vision that still retains all the dry, silly humor we’ve come to know and love.
Nate Paladino is a solo artist from Orange County. Like an American Richard Hawley, Paladino projects himself as a rockabilly artist for the modern age,
Triumphantly returning after their 1992 demise, Coventry, UK’s The Primitives deliver their first full-length of original songs in twenty-two years.
Thirty-four years after initially released, the lone non-cassette LP by experimental industrialist, Philip Johnson, finally receives its first proper reissue.
