Bristol rapper ThisisDA packs a lot in a short amount of time with new single “Unstoppable.” The track last only a minute and a half, but features a sweet, jazzy instrumental from Ecstra Kool and a compelling set a bars from ThisisDA (a teetotal himself), detailing a man in a troubled relationship with an alcoholic girlfriend.
“Unstoppable” is further evidence that the young MC has a keen ear for beats and a gift for storytelling. However, it will not be on ThisisDA’s upcoming debut album Super Arkane, which is due out later this month.
Recording for Allentown grindcore quartet Orphan Donor’s new EP Empty apparently took place over the course of three years – starting in January 2011, in a barn, and ending in November 2013, in a basement. Clocking in at a seemingly meager 15 minutes, Empty might just be the most rawly affecting extreme music listen you’ll have all year. Check it!
If you dig this, be sure to check out the band’s live (and incredibly murky) self-titled EP here. You can also look forward to the band’s first full-length, which is in the works.
Next year, Seattle rock trio Helms Alee will put out their third studio album Sleepwalking Sailors. Above, check out the LP’s simultaneously sludgy and sticky lead single “Tumescence.” Seriously, the band’s balance of trudging, Verellen-yelled verses and James and Margullis’ lovely choruses is staggering, but also catchy-as-hell. Happy listening!
Sleepwalking Sailors is due out February 11 via Sargent House.
With an elegant piano intro, and adorned with bells and chimes, “With Me,” the new cut from Cashmere Cat’s forthcoming EP Wedding Bells, is the producer’s most gorgeous offering yet. But Cashmere Cat also comes forward with some sparkling electro textures and a few deft drops that make the track incredibly dynamic, attention-grabbing, and danceable as all get-out. Enjoy!
Wedding Bells is due out in January via LuckyMe.
Electronic music producer Evian Christ takes to bangers like a duck to water on this new beat of his, “Salt Carousel,” which is set for release on his Waterfall EP. Look for that early next year.
Check out a review for his Kings and Them compilation below:
Swedish rock outfit MANKIND has a few songs floating up on SoundCloud at the moment, and they’re absolutely over-the-top, ballsy, and in-your-goddamned-face! UGH! GOD! BELHDLHDLGHG!
There are some loud, abrasive elements to this band’s music that reminds me quite of bit of progressive punk bands like Refused, but they’ve got some eccentricities of their own as well. Not only that, but some clear influences coming from the world of garage rock and soul, too. Enjoy!
On first listen, Jess Williamson’s new song “Blood Song” is nothing overly special. Adequately plucked, gritty electric guitars; a pretty, worn husk of a voice; and a slightly muddy recording. But listening deeper reveals a pretty great little song: Williamson sings with a certain assuredness, in a voice that sounds like a far more emotive Laura Stevenson or an earthier Emiliana Torrini. After she ominously intones, “I heard about the blood,” the song ventures into a new phase before cycling back upon itself. At the least, this smart composition makes me curious to hear what else she has up her sleeve.
Stream it above, and look out for her debut album Native State, released on January 28 via Brutal Honest.
“The Story of Lot,” the last single from Norwegian noise rock collective Årabrot, is a left-field turn from an already left-field band. The 15-minute piece is comprised of Kjetil Nernes recounting the Bible’s tale of the drunken, incestuous title character over a propulsive, lurching bassline that amasses harsh electronic noise and feedback as it progresses. With this track, the band has effectively veered into industrial territory, and it’s glorious to hear the genre performed with some teeth again.
“The Story of Lot” will take up much of Årabrot’s new EP, Murder As Art, out today via Red Eye.