Today, Stand with Bandcamp to Support Racial Justice, Equality, and Change
(This year’s Juneteenth fundraiser has ended. The next #BandcampFriday is coming up on July 3.) The recent killings of George Floyd, Tony McDade, Sean Reed, Breonna Taylor, Ahmaud Arbery and the ongoing state-sanctioned violence against black people in the US and around the world are horrific tragedies. We stand with those rightfully demanding justice, equality, and change, and people of color eve
The Best Albums of 2019: #20 – 1
If you’ve come here looking for some kind of overarching throughline in these 100 records, I’ll tell you right now: you can forget it. Trying to reduce 100 albums by different people from different backgrounds and various walks of life into one Big Idea is a sucker’s errand, and it’s not one I’m foolhardy enough to take on. Besides which: that variety is exactly the point. Part of the reason we tu
Lifetime Achievement: 7 Albums That Show The Many Sides Of Merzbow
Forty years after he first started recording as Merzbow, Masami Akita’s music is no easier to categorize. Though his creations are perennially pigeonholed as noise music, anti-music, and even über-music, the sheer magnitude of his output will always present an obstacle to easy classification. Consider Mike Connelly’s comments in the opening episode of Merzcast, one of two recently launched podcast
Genre As Method: The Vaporwave Family Tree, From Eccojams to Hardvapour
If there’s one vaporwave subgenre that’s more or less identical to vaporwave itself, it’s eccojams. The subgenre established the very template that most vaporwave musicians used to transform a whole world of forgotten pop culture into a legitimate mode of expression. Beginning in 2010 with Chuck Person’s Eccojams Vol. 1 by Daniel Lopatin (aka Oneohtrix Point Never), it started life as “a very simp
Talking With Krallice’s Colin Marston About His Studio, Menegroth
There is no sign outside of Menegroth (aka The Thousand Caves), Colin Marston’s unassuming recording studio tucked away on a quiet residential street in Woodhaven, Queens. For the last 12 years, this has been the unlikely location where Marston has been engineering, mixing, and mastering hundreds of incredible genre-exploding recordings by some of extreme music’s wildest bands. Menegroth was found
A Guide to Louisville Post-Hardcore
In the early ‘90s, music journalists seemed very concerned with finding the next Seattle. Or rather, finding the next city that could redefine guitar rock for the masses while attracting major label A&R reps who were ready to kneel at the Chuck Taylors of its ambassadors, blank checks in hand. D.C. had Fugazi, Jawbox, and the already established Dischord Records. San Diego had Gravity Records. Chi
Eight Kawaii Artists Using Grotesque Sounds to Redefine “Cute” Japanese Music
SCENE REPORT Eight Kawaii Artists Using Grotesque Sounds to Redefine “Cute” Japanese Music By Patrick St. Michel · March 23, 2018 YUC'e Few Japanese concepts have spread as far globally as “kawaii.” The word—roughly translated to mean “cute,” but technically referring to a child-like, downright pitiable type of adorableness—often hovers around Japanese cultural exports, from cartoons to clothes. J
New Directions in Grindcore
AntigamaGrindcore was born from anarcho-punk before it was subsumed into metal and, though this isn’t true across the subgenre, progressive politics are often still very important to some of its biggest practitioners, like Napalm Death. The music itself—a punker-than-punk chaotic din that wowed radio tastemaker John Peel, giving it a flash of mainstream notoriety in the U.K.—was inspired by a wide
The Collaboration Between SUMAC & Keiji Haino is an Experimental Metal Triumph
FEATURES The Collaboration Between SUMAC & Keiji Haino is an Experimental Metal Triumph By Saby Reyes-Kulkarni · March 01, 2018 Photo by Kazuyuki FunakiKeiji Haino first appeared on Japan’s experimental music scene in 1970 as frontman of the audaciously noisy improv group Lost Aaraaff. His shrieking vocals and brittle guitar style quickly established him as one of the genre’s more uncompromising v
Slowcore: A Brief Timeline
Low, photo by Lego. You could easily argue against the idea of “slowcore” as a genre. Unlike its late-’80s/early-’90s contemporaries in shoegaze and grunge, there was never a geographic focus or self-celebrating scene. Its key bands formed all across the country, rarely toured together, and never seemed to swap notes or compare guitar pedals. There were no formative moments, no Sex Pistols at Manc
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