On their third album, Welsh duo, The Lowland Hundred, complete their trilogy of spacious anthems with an astounding work that blends ambient sound with music concrete and pop sensibility.
Comprised of Yorkshire, UK-based Matt Bower (The Revenant Sea, Wizards Tell Lies) and Louisiana’s April Larson, Isobel Ccircle~ deliver a debut so disturbing it should be the soundtrack to a horror film.
Brighton, UK’s premiere experimental jazz dynamic duo return for a monolithic collection of sprawling explorations into surreal darkness.
Stoneburner recasts psychedelic sludge in its own image on its second slab Life Drawing.
Under Satan’s Sun, songwriter/multi-instrumentalist Anders Manga‘s third LP as Bloody Hammers, keeps dark faith with the first two, but more so.
Under the pseudonym of Joseph Nanner, a mysterious character from New York City, known only Owen, delivers his stellar debut recordings as a cassette double pack via London experimental label, Exotic Pylon.
When Summer’s Gone combines a hard rock grit with a poeticism reminiscent of someone like Bruce Springsteen and a certain cynicism that can only come from being raised in the rust of an old steel town.
Two years after their debut, Who’s a Fuzzy Buddy?, Roanoke, VA’s The Bastards of Fate continue their uncompromising onslaught of demented pop with an incredibly strong sophomore effort.
The entirety of Secrets of the Deep! is unlike anything else being done today and it’s perfect for anywhere from the dance floor to your own bedroom.
This is music for communing with constantly rotating objects in motion, such as planets in orbit.
For their second full-length collaboration, improvisational guitarists Tom Carter (Charalambides) and Pat Murano (No-Neck Blues Band) deliver an intense double LP comprised of four tracks clocking in at one side each.
On Roohan’s solo-billed second LP, the sweet coo that graced her debut has gained a more full-bodied presence and punch.
Picking up right where they left off, C86 compilation heroes, Scotland’s Close Lobsters, return with their first new recordings since 1989.
… a marvelously detailed and meticulously researched story of the little band that could from Zion, Illinois…
On her third solo album since 2007, Matteah Baim (ex-Metallic Falcons) builds on her dark psychedelic sound by adding lush production and orchestral accompaniment to her wistful compositions.
Previously one half of Oakland lo-fi industrial duo, Primary Colors, San Francisco artist, Michael Wood, releases his debut solo album, a continuation of his budget wave electronic signature.
The album is warm and gently consistent in its approach and feels like a largely intimate experience, as if you’re witness to a private home concert with Mitchell.
Comprised of Dutch italo disco producers Alden Tyrell and Mr. Pauli with vocalist Zarkoff, Sumerian Fleet finally releases their powerful debut full-length after four years of collaboration and a pair of EPs.
For the second spoken word album by Canadian poet, Brian Brett, producer Andy Meyers constructed backing tracks from samples of his late ’70s/early ’80s (and reformed as of 2008) Toronto proto-art punk band, The Scenics, to create a dark, visceral backdrop for Brett’s words.
Rada’s an Israeli-born Ethiopian singer who’s based in Tel Aviv, and this self-titled debut LP follows her 2013 “Life Happens” EP. With twelve strong tunes, Ester Rada is convincing, confident soul music with an edge.
Back in the ’80s, Death of Samantha dominated Cleveland, OH’s underground rock scene with their off-kilter brand of rock’n‘roll fueled by bizarro live shows and a twisted sense of humor.
Colour is a strong, and consistently fine release by a band with obviously a lot more great things to come.
As a core of nerds know, twenty-first century prog rock takes inspiration from more than just Rush, Yes and Dream Theater.
Songwriter, Donovan Quinn, returns alongside longtime associate Glenn Donaldson, for the first Skygreen Leopards album since 2009 entitled Family Crimes.
After twenty-six years of philosophy and theoretical physics, Steve Weinstein finally returns to music with his first album since 1987’s Walkin’ by the Light of the Moon.
On their new album Life in Static, the Salt Lake City quartet craft an alternate universe where alternative/pop punk never really left the mainstream charts at all, ball bearing necklaces and lip rips never went out of style, and Scott Raynor never left Blink 182.
Thirty-four years after their stellar debut album, Rockin’ At Ground Zero, Los Angeles punk rock icons, The Gears, finally return with their followup, a perfect sequel to the legendary LP that defined them for so long.
If you were to take Bowie and Kraftwerk, and throw in a classical background as well as some modern tastes, you may have the weird brainchild that is this instrumental album.
18 months after their debut LP, Big Cats Can Swim, Athens, GA’s Eureka California have slimmed down to a bassless duo for their second collection of fuzzy, in-the-red songs.
Beautifully polished, dense, and carefully paced and planned, this single forty-four minute song-album is a grand and ambitious slice of progressive synth pop.
Rising from the wreckage of San Francisco punk band, The Jack Saints, Hornss erupt with volcanic ferocity, boldly announcing their existence with a debut album that sheds the confines of two-minute trash rock in favor of slower tempos and outright heaviness.
Though most of China’s underground music seems to come from Shanghai, the country’s capital, Beijing, has its own burgeoning scene. Now, two of the city’s foremost experimental electronic musicians come together for a second split release.
On his first full-length, multi-instrumentalist Suereth’s vivacious, ear-tickling ambient touches and hooky, new wave-inspired pop sense drew me in.
Raised by a single mother who worked in a psychiatric hospital, and in a home filled with schizophrenics and manic depressives, it’s this kind of atmosphere and reality that comes through in every aspect of Wilde’s music.
Comprised of famed producer Butch Vig and Phil Davis from Fire Town and brothers Frank and Pete Anderson from Call Me Bwana, The Emperors of Wyoming finally release their debut album domestically with three tracks not on the original UK release.
In anticipation of their planned demise, Pairs teams up with fellow Shanghai ex-pat Adam McRae, aka Reykjavictim, for a second-to-last recording that finds the expanded duo building off the electronic experimentation of Your Feet Touch Ground, A Carousel and heading deep into psychedelic territory.
Disconnect marries the two sides of his session personality, as the record comes with a progressive rock soul but a mainstream rock-friendly outlook.
Greenleaf started out as a side project for various Swedish stoner and hard rock musicians – a busman’s holiday for members of Dozer, Lowrider, Truckfighters and Demon Cleaner. At this point, however, the band has outlasted many of its seedpods, and gotten better with every record as well.
It seems the speakers of the stereo can barely contain these songs at times, making Libertine a truly powerful document not just for Silkworm but also for first wave indie rock.
Goodbye Birdcage—a reference to leaving Toronto for New York— is a fitting reference because it sounds here like Frisch flew out of a birdcage and into the legendary Brill Building.
Earnestly reissued by Paradise of Bachelors and produced by Peter Eden (Donovan, Bill Fay), Trout Steel eloquently connects brit folk to free jazz with ease and originality.
On her ninth studio album and seventh recorded by Jeff Stuart Saltzman, Portland, OR’s Rachel Taylor Brown explores the meaning of “family,” from a strict nuclear meaning to a broader sense relating to community, religion and duty.
The covers here are largely unpolished and raw, chugging along at a ferocious pace, and Doncker’s vocals get as close as anyone can to capturing the raw intensity within Wolf’s voice.
