Primal Sphere – Robedoor
When Britt Brown and Alex Brown get together as Robedoor, it can be argued that drone elements rarely get as dense or as dark as
When Britt Brown and Alex Brown get together as Robedoor, it can be argued that drone elements rarely get as dense or as dark as
Kriget here tries to redirect the flow of culture, driving free jazz straight through dance music detritus before slamming into post-aughts psychedelic spazz, exploding in
Forget Kurt Vile’s Constant Hitmaker or The War on Drugs’ Wagonwheel Blues; Alex Bleeker and the Freaks’ self-titled 2009 album has to be the closest
Melancholy is best enacted in song through understatement and New York City by-way-of Melbourne quartet Free Time’s eponymous debut LP paints sadness with light strokes.
When Saints Go Machine have spent the past two releases saving pop music from itself, breathing excitable moments of experimentation into its formula while never
Iceage has gone to questionable — and sometimes straight up embarrassing — lengths to cultivate an image as literate yet dangerous blood brothers (Burzum badges!
Sacramento quartet Screature recorded its eponymous debut live with Chris Woodhouse at reputable studio The Hangar. Live, as in all instruments were recorded at once
J. Cole Furlow, the man behind Mississippi’s Dead Gaze, has made something beautiful, which, in a world of Justin Biebers, face tattoos, and misplaced outrage
Bryant Dope may have roamed into the realm of unfortunate album titles with New New York. Intended to position the 20-year-old Queens kid as part
“Is this what Hell sounds like?” someone recently asked me as “Belgrade,” a particularly ominous instrumental from Drifters/Love Is The Devil, played in the background.
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