Last Lizard – “Dickie’s Theme” / “Detroit” (Excerpt)

Last month, Alex Zhang Hungtai announced the laying to rest of his long-running and acclaimed no-wave singer-songwriter alias Dirty Beaches. The recently released Stateless was packed with gorgeous drones and was thankfully an elegant end for the project.

There was a silver lining to this news: Hungtai announced that new music under different handles would be coming as soon as 2015. Lo and behold, he has already delivered over 20 minutes of music under the pseudonym Last Lizard. The 18-minute-long “Dickie’s Theme” and the below 4 minute excerpt from “Detroit” are billed as “tenor sax and tape experiments,” in a similar vein as some of the material on Stateless. Try to imagine The Disintegration Loops constructed only out of layered tenor sax sounds – if you can, then you ought to have a good idea of what you’re in for.

R.I.P. Dirty Beaches. Long live Last Lizard!

Kijinoise – Kijinoise XIV

Here’s something that caught my ears while wading through Bandcamp earlier today. Kijinoise is a Chinese musician who has been uploading projects quite prolifically since late last month, using solely a guitar to deliver a fuzzy fusion of drone, noise, progressive rock, doom, and free improvisational elements. The results haven’t been totally mind-blowing thus far, but I must say the textures of this self-titled debut are actually quite nice, almost achieving a Sunn O)))-level heaviness at points. Find this guy a label! In the meantime, I’ll just wait a few more days for another release.

Update: It appears as though all the above linked projects have been consolidated into this first one, since renamed Kijinoise XIV.

Matthew Revert – “The Heart’s Heartbeat” / Food Court – Self-Titled (Excerpt)

Kye, the record label of one of my very favorite artists Graham Lambkin, has put out its final two releases of 2014. The first is Australian novelist Matthew Revert‘s Not You, a singer-songwriter project with lo-fi and electroacoustic inclinations, as you’ll find with cut “The Heart’s Heartbeat” below. And the second is the self-titled debut of fellow Australian act Food Court, the collaboration between avant-classical and electroacoustic practitioners James Rushford, Joe Talia, and Francis Plagne. Hear an excerpt from the album above. Enjoy!

Supersilent – “12.1″

On its 12th album, Norway’s eminent free improvisational outfit Supersilent is still managing to turn out some pretty evocative and extraordinary music. Having dabbled in avant-garde jazz, EAI, noise, and experimental rock throughout its career, the trio now finds itself in a decidedly dark ambient place. Just listen to 12‘s opening track – Arve Henriksen’s forlorn trumpet drifts and stabs out through a murk of synthesized wind courtesy of Ståle Storløkken and Helge Sten. Listening to the track is like slowly losing consciousness in a cave leaking hazardous gas. Thankfully, Supersilent is still capable of delivering inspired material to keep the listener the right kinds of intoxicated and breathless.

12 is out now via Rune Grammofon.

Gnaw Their Tongues – Wir Essen Seelen In Der Nacht

On November 1, Dutch black metal outfit Gnaw Their Tongues will put out a new full-length titled Night of Consecration. In the meantime, they’ve thrown this EP of four experimental pieces up on their Bandcamp. It’s a really thick mix of drone, dark ambient, baroque classical, and black metal elements and makes for a quite riveting listen. I don’t imagine it’s an accurate representation of the nearing full-length’s direction, but it’s nevertheless a direction I’d be interested in seeing them pursue further.

Scott Walker and Sunn o))) – Soused

While Sunn o))) and Scott Walker make the effort to accommodate one another on this new collaborative album, the chemistry isn’t as explosive as I had hoped.

Kevin Drumm / Jason Lescalleet – The Abyss

OK, I want to give a quick shout-out to this latest collaboration between seasoned electro-acoustic/drone/avant-garde/whatever artists Kevin Drumm and Jason Lescalleet - with The Abyss, they have turned out what is without question one of the darkest, most abject musical works I’ve ever heard. I don’t have anything intelligent to say about it – go to TMT for that shit – but if you’re looking for the murkiest of “mood albums,” I can’t recommend this thing enough. Admittedly, it doesn’t make a whole lot of sense to take excerpts from a project so atmospheric, but in case anyone’s feeling curious or brave, find a 9-minute snippet from the 50-minute-long closer above and the decidedly more eventful “Anger Alert” below. Godspeed!

The Abyss is out now via Erstwhile Records.

B L A C K I E – “None Above”

Last month, Houston-based avant-garde rapper and musician B L A C K I E announced a new studio full-length titled IMAGINE YOURSELF IN A FREE AND NATURAL WORLD. No release date yet, but this lead single “None Above” has me properly excited. The track is a crashing, kaleidoscopic wall of sound, with wailing from B L A C K I E forced to the background and just barely audible. It’s beautifully brutal. Or brutally beautiful? Whatever; it’s awesome! Check it out!

Save Us From The Archon – Thereafter

INSTRUMENTAL ROCK TIME!!! Pittsburgh’s Save Us From The Archon delivers some of the most intense and frighteningly tight math rock I’ve heard in a long time. The guitars and drums are absolutely dizzying on a lot of these tracks from their new LP, Thereafter.

These guys can really play their asses off, but the compositions on this album are also capable of serenity as well. Some gentle and beautiful guitar passages pour out of these songs when things settle down.

The music really fits the wintery setting displayed on the cover of this album. Sometimes music portrays a harsh blizzard, other times we’re getting a gorgeous, quiet landscape blanketed in white powder. Enjoy!

Mayhem – Esoteric Warfare

Mayhem returns with a new record and an old school black metal sound.