Dinosaur Jr. continues to bring on their brand of indie rock without any signs of slowing down. Their sound featuring a lot of guitar feedback and distortion may not be so original anymore, but damn if they don’t do it well. Right from the beginning the song goes off
Canadian rock upstarts METZ are gearing up to release their self-titled full-length debut via none other than the long-standing Sub Pop Records in October. Following “Headache,” “Wet Blanket” is the second track to drop from the album, and is available to stream above. With plenty of emotion, dissonance, and distortion
Majeure, a.k.a. Pittsburgh artist and one half of synthesizer-worshiping rock band Zombi, has a new album on the way. Going by the name Solar Maximum, the record is looking at an October 16 release date via Temporary Residence. Check out the sprawling, eleven-and-a-half minute long title cut above.
In a way, Death Grips’ earth-shattering the Money Store from earlier this year was most notably a representation of the contributions of Andy Morin, a.k.a. Flatlander, to the project. Of course, vocalist Stefan Burnett and percussionist Zach Hill were most certainly providing quite a bit of weight themselves,
With Bend Beyond, Woods makes the most noticeable change of their past three records with a serious attitude adjustment, presenting more warm, bright, and inviting songs than ever. WATCH THE REVIEW
Cumbia supergroup Ondatrópica puts over forty musicians to work on what might be the most essential Latin music record of 2012. WATCH THE REVIEW
On their fourth album, New York black metal outfit delivers roughly the same sound they’ve been working with for the previous three. However, despite the lack of shockingly new ideas, the band proves to hold a lot of compositional power in the methodically fine-tuned progressive black metal style they’
One of the better tracks from Bobby Womack’s new album, the Bravest Man In the Universe, which you can watch a review for here.
A track from the forthcoming OL EP titled Body Varial. “Combination” spans four minutes, and it features a pretty nice combination of footwork rhythms and juke vocal samples–speaking of the sample, it’s clearly Raekwon on Wu-Tang’s “C.R.E.A.M.” The synths throughout this thing have
Visuals for the Capital STEEZ track, “Free the Robots,” which is probably the most politically charged track off of his latest mixtape, AmeriKKKan Korruption. Keep track of him and the rest of his Progressive Era crew right here. Also, have you heard this Joey Bada$$ tape?
