UK singer-songwriter and musical oddball Dean Blunt releases an album that’s difficult to put into words. While simple in composition and sloppy in execution, the album still manages to draw up some real feelings of isolation, melancholy, and frustration.
Pianos Become the Teeth deliver a terrifyingly bland followup to 2011’s The Lack Long After.
With upcoming 10″ single “Sue (Or in a Season of Crime)/’Tis a Pity She Was a Whore,” David Bowie ventures deeper into avant-garde territory. The B-side, streamable above, is a chaotic big band experiment that evokes an Elizabethan incest tragedy – quite a leap from the mild experimentation of last
Earthborn Evolution by Beyond Creation I’m no technical death metal fiend, but I’ve been warming up to the new Beyond Creation album lately, and I’m really liking what I’m hearing. These guys dropped a debut album in 2011, but Season of Mist reissuing the record in
Deerhoof compliments one of the most unsettling and noisy tunes on their latest record with a strange video about interconnectedness. We seem to have a few twin-like characters who share pain in the same way a one-way street shares traffic. Whatever happens to one seems to impact the other, and
A$AP Mob‘s resident Trap Lord A$AP Ferg comes through with a new single featuring West Coast up-and-comer YG. I think it’s safe to assume we’re gonna have an album cycle soon, but I can’t say this track here has gotten me excited for it.
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
New York rapper-singer Azealia Banks’ repeatedly postponed album finally drops.
If there’s a way to hold attention, it’s to hint at a payoff that never arrives. The Bug’s trap-dub influenced beat swells quite a few times throughout the, but the song dissolves into a formless chorus before any kind of release is ever achieved. Miss Red’s
Festival Of The Dead by CUT HANDS As is the case with most African rhythmic music, it usually serves some sort of spiritual purpose, the ritualistic quality of many different beats and melodies designed to inspire, enlighten and heal–such as the one-two rhythm of the Rastafarians, mimicking the heartbeat,
