Marking ten years since the first self-titled release under the name Fågelle, Den Svenska Vreden (Medication Time Records), is the latest album by Swede Klara Andersson and collaborator Henryk Lipp.
Marking ten years since the first self-titled release under the name Fågelle, Den Svenska Vreden (Medication Time Records), is the latest album by Swede Klara Andersson and collaborator Henryk Lipp.
Evoking more than a whiff of the spirit of Siouxsie Sioux with a tight, goth-rock unit, Shaam Larein’s second full-length Sticka En Kniv I Världen (Svart Records) may have you seeing visions of witches dancing barefoot under the moonlight.
Grinding away in the sludge metal fringes for over thirty years, Los Angeles, California’s -16– are one of those “how have I missed them?” bands that seem to fly below the radar for many, but once detected are unlikely to be forgotten. On Into Dust (Relapse Records) the band drop their ninth album, the follow up to 2020’s Dream Squasher, sounding as amped-up, powerful and determined as ever to charge head-first through the nearest wall.
For anyone fooled into thinking this is 2022, Arctic Monkeys deliver a musical message that the 1970s are still going strong, on their new record The Car (Domino Records) the follow up to 2018’s Tranquility Base Hotel + Casino
With a band name so obscure it’s like they don’t want to be found, a mocking album title and featuring a musical parody of Sergeant Pepper’s Lonely Hearts Club Band, Mr. Phylzzz (pronounced “Mr Flies”) demonstrate on their latest album Cancel Culture Club (Amphetamine Reptile Records), that they aren’t taking anything too seriously.
Like a deadly, grizzled beast that lurks in the shadows, KEN Mode emerges every few years with a new record, tearing off limbs as it goes, before skulking back into its pit. With September 23rd seeing the release of Null, on Artoffact Records — the band’s eagerly anticipated follow-up to 2018’s Loved — founder and singer/guitarist Jesse Matthewson talks about the new record and what keeps the KEN Mode fires burning. Continue reading
Back in the tail end of the seventies, Bon Scott of AC/DC sang “if you want blood, you got it.” Over four decades later in 2022, we might hear a comparable rallying cry from vocalist/guitarist Ryan Osterman and his post-rock/shoegaze band Holy Fawn. However, on Dimensional Bleed (Wax Bodega) — the Arizona natives’ second album — the message would be more like “if you want relentless, beautiful sadness, you got it.”
There are times when album art seems absolutely representative of the music contained within. So it is with Irkalla (The Artisan Era), the forthcoming album by Green Bay, Wisconsin’s Aronious. The technical death metal group’s follow-up to their 2020 album Perspicacity, rushes at the listener in relentless, head-spinning waves, as though the band was charting the soundtrack to the formation of galaxies. Continue reading
Industrial metal — of a recognisably early 90s style — lives on in 2022 in the form of Body Prophecy (20 Buck Spin) by Oklahoma’s Black Magnet. Following up Hallucination Scene — the project’s debut album — this latest release arrives with more than a casual nod to Nine Inch Nails, Ministry, and Godflesh (from which Justin K. Broadrick even lends his mixing talents on the album’s closing track). Continue reading
Satyricon & Munch (Napalm Records) is the coming together of two icons of Oslo, Norway – the visuals of artist Edvard Munch inform a new piece of music by black metal veterans Satyricon. With the music inspired by — and presented as part of — a new exhibition at Oslo’s MUNCH museum, this 56-minute recording of new material exists also independent of its visual counterpart. If expecting a full-on black metal album, approach with caution; for those ready for an atmospheric, instrumental journey, this dark trip may be worthy of your time.