of Montreal – “Empyrean Abattoir”

Of Montreal has just shared the second single off its upcoming LP Aureate Gloom. Lead “Bassem Sabry” certainly did enough to get us anticipating this album, this new track “Empyrean Abattoir” only managing to add to that anticipation. Give it a listen above and enjoy!

Aureate Gloom is out 3 March via Polyvinyl. Also, you can find the band’s first batch of 2015 tour dates here.

Aaron Dilloway & Jason Lescalleet – “Western Nest”

“Popeth” means “everything” in Welsh. It’s also the name of the latest collaborative full-length from enlightened noisesmiths Aaron Dilloway and Jason Lescalleet, properly following up their 2012 team-up Grapes and Snakes. Above, find Popeth centerpiece “Western Nest,” whose masterful bonding of lulling electronic pulses and high frequencies suggests a peak of unity between the two artists. Truly, the entire project lives up to its name - it is in essence the culmination of Dilloway and Lescalleet’s combined efforts in sonic manipulation and the creation of a holistic soundscape up to this point.

Popeth is out now via Glistening Examples.

Hypercolor – Self-Titled

Hypercolor is a NYC trio making its self-titled debut on “downtown” figurehead John Zorn’s Tzadik imprint later this month. Unsurprisingly, the threesome comprised of guitarist Eyal Maoz, bassist James Ilgenfritz, and drummer Lukas Ligeti (all of whom are accomplished composers and improvisers) delivers the label’s trademark brand of controlled improvisation. However, the band’s deceptively simple setup proves to be another welcome take on Zorn’s “game piece” mentality; the result a work of spastic jazz-rock that courts entropy for the entirety of its playtime. This act is aptly named – Hypercolor will likely be among the most vibrant  blasts of rock music this year.

Look out for this thing, due to drop 15 January via Tzadik.

Death Grips – Fashion Week

With the title and track names of new instrumental soundtrack Fashion Week, Death Grips at last answers the age-long question “jenny death when?” – probably in time for the New York and London Fashion Weeks, which start 12 and 20 February, respectively (the 10th would seem to be a safe bet).

That said, I’m happy to find that this collection of 14 new tracks is much more than a mere hint. Ride’s vocals are of course absent, but these instrumentals do well to amass potency along their decidedly linear paths. These cuts themselves really seem to be up on the runway, strutting their stuff with an unprecedented balance of boldness and poise.

Mark Kozelek – Sings Christmas Carols

“Mark, you’re the only person I know who can take a wonderful season like Christmas and turn it into a problem … Of all the Mark Kozeleks in the world, you’re the Mark Kozelekiest.”

There’s no topping that for now. Happy holidays, y’all! Thanks for a great year!

 

Modest Mouse – “Lampshades on Fire”

Modest Mouse’s new album, Strangers to Ourselves, its first in eight years, is well on the way. Recently they released this joint, a happy-go-lucky and uninhibited song that puts the indie rock group back in the music spotlight for the upcoming new year. “Lampshades on Fire” is powerful and hectic, but also thoroughly danceable. Front man Isaak Brock uses the occasion to be as wild and unhindered as he can be in the delivery of his lyrics. The intertwining of hand claps, up-tempo keys, a silky smooth bass line and clever drumming transform this track into a standard but respectable study in indie pop-rock. Curiously enough, this is a song that has been part of Modest Mouse’s live set since 2011, but now serves as a glimpse into the next direction that they will be taking with Strangers to Ourselves. With this strong single, fans are sure to welcome the indie rock vets back with open arms.

Strangers to Ourselves is due out 3 March via Glacial Pace.

- Ron Grant

Oneohtrix Point Never/A.G. Cook – “Rush”/”Bubs”

Oneohtrix Point Never has just shared an outtake from R Plus Seven called “Rush,” supplementing it with a short-but-sweet collaborative track with A.G. Cook,  founder of London label PC Music, which specializes in a brand of “bubblegum bass” that I’m not sure I get yet. This feels right.

Brian Chippendale and Greg Saunier – Brian Chippendale and Greg Saunier

Of all the team-ups and collabs in recent memory, this has to be among the most chaotic, noisy and boisterous of them all. Greg Saunier and Brian Chippendale are two drummers behind some of the more experimental punk bands of the late 90′s and early 2000′s, namely Deerhoof and Lightning Bolt. They are regarded as formidable musicians in their own rights, as well as being close friends.

The above album is effectively a half hour of two men playing drums as hard and ferocious as they can, dipping and feeling each other’s style for volume and rhythm dynamics, using each other’s energy to build and drop in crescendo after crescendo of drive, power, and skill. Recommended for anyone into free-improvised percussion music. And if you have time, watch the documentary Checking in at 20, which is paired with the album. It gives some fascinating insight into the two drummers and the project.

- Fin Worrall

 

DOS4GW – Suiside B

DOS4GW is an underground beatmaker that has been consistently blowing my mind since 2007. The dark, fierce, electronic noise that has been emanating from his bedroom for the past few years has grown more varied and more interesting with each project, so naturally this new album, Suiside B, is pretty exciting. Slightly reminiscent of Tobacco and BMSR, the album is as mottled as it is expansive, with overdriven metallic waves broken up by steady beats, drum-and-bass punctuation, and trippy fluorescent crescendos. Check it out above and enjoy!

Suiside B is out now via Smokers Cough.

- Fin Worrall

Marilyn Manson – “Deep Six”

Some artists have always felt the calling to make rock music that tries its best to be pure evil. When it’s done well, like Marilyn Manson does in “Deep Six,” the effect is a complete escape to the artist’s world and their view on it. It’s exceptionally trying for an outsider to explain these worlds, because they are inhabited by only one person. Here, Manson does his best to be your guide and lures you in under the false pretense that you’re listening to “rock” music.

The elements are all there, a relatively simple drum beat with a chugging riff laid on top of it. The structure of the song is like most rock songs that you’ll here out there too. However, the vocals are where this song leaves all notions of being generic behind. They are absolutely seductive in the first minute before erupting into the explosive metal style singing that music from Manson’s late 90s and mid 2000s heyday is known for. The people who call this music satanic are not in fact crazy, but are noticing the parallels in biblical corruption wherein the evil that ends you feels like guilty yet harmless fun. Where they end up missing the point is that all of this really is just a harmless and enjoyable romp through Manson’s fun house.

“Deep Six” is taken from Manson’s upcoming ninth album The Pale Emperor, due out 16 January via his Hell, etc. imprint.

-Garrett Cottingham