Viet Cong picks up the pieces left in the demise of Women, and pulls together some great–but very similar–material on their self-titled release here.
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.
Clark heads back into familiar territory on his new self-titled album.
The new IAYD record brings together 8-bit synth timbres and with the kinds of “drops” popular in present-day EDM.
Some strange and relaxing drone and experimental music on this new Wilting Sun album here. While Wilting Sun is careful not to step into anything too accessible, there’s quite a bit of variety on the six tracks here. Some tracks, like the intro here, deliver a mind-numbing drone, but manage to maintain an unsettling atmosphere pregnant with tension. Other moments sound like they’re pulled straight out of the Tim Hecker or Boards of Canada playbook, combining beautifully haunting melodies with soul-crushing noise and fuzz . As the name implies, the music of Wilting Sun is apocalyptic, desolate, and an ideal soundtrack for the end times.
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.
English electronic music producer Christopher Clark just released his latest full-length on Warp Records this month. It’s self-titled. Of the songs I’ve heard thus far, I’m finding it much more experimental and intriguing than his last album, Iradelphic, and “The Grit In The Pearl” is moment that must be highlighted.
The bouncy, overlapping synth leads are complimented with a driving kick drum that really brings clarity and order to the track as it continues to build this amorphous wall of reverb-slathered tones. It’s focused, but incredibly explorative as well–especially with that noisy drone in the song’s second half.
Royal Blood’s debut album may contain some hot singles, but the music itself is dying for a refreshing, distinct idea.
Praise to this up-and-coming band from Sweden. Their name: AHRM. They’ve got a debut, self-titled album on Bandcamp here, and it’s a barnburner. Punchy, sharp drums combined with some impassioned vocals and blaring guitars. It’s as informed by hardcore punk as it is the moodier, darker side of post-punk.