Long before “This Room Could Be Heaven” was lined up as ZBR400, before the pre-orders and the sold-out splatter variant, Concealer were sitting in Justin’s living room in Orlando writing until four
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The first version of “Watch You Go” moved fast and didn’t leave much room to think. It sat off to
The third single from (16)’s upcoming covers record lands like a confession. Their take on Black Flag’s “Beat My Head
The cover photo says enough before you even press play—Zoe, mid-wedding, caught in a moment that wasn’t meant to last.
A cheap PC, electronic drums, and a guitar pushed through an octave pedal—this is where CRAPGUM built a record that
The first time elbowsway put their music out, it felt almost weightless. No expectations, no plan beyond finishing something and
The barn in Hereford has become a constant — weekends disappearing into writing, rehearsing, and long stretches of just existing
A record split into three movements doesn’t drift — it locks in, circles, and refuses to break. Fainting Dreams approach
Final Gasp headed out on a North American run just as “New Day Symptoms” came out February 27 on Relapse
He didn’t ease into it. By the time the first song started taking shape, Tim Kasher had already been sitting
The Warren is about a mile from Gerry LaFemina’s house, which means extra vocals get tracked on a whim, organs
track by track
Dave Graney gave Royal Commission an early nod on Triple R after playing “The Woman (Who Cannot Be Named),” singling out the fact that Dean Robb had recorded the whole thing on
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The first piece written for “Immobilism” takes its name from a way of painting—tenebrism, the heavy contrast of light and shadow associated with Caravaggio and Dürer. That same push and pull runs through the entire record, five instrumental suites built less like songs and
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Chevreuil have always treated the duo format like a piece of engineered
Not many bands can play this hard and still make it stick
4am, phone in hand, watching protest livestreams from Wright Park in Tacoma.
Nine years is a long time to leave people hanging, but Antwerp’s
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There’s a line buried in “Albatros” — “My nest is a boat / With which I sail Oceans and Seas” – that lands less like metaphor and more like a working method. For over a decade, Pastel have kept moving while trying to stay
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There’s a point where background noise stops being harmless and starts getting
There’s a moment in “lead me down.” where the song hangs back
The phrase “Ape Cave” doesn’t sit as metaphor until Eric Ozenne pins
Celebrating’s “Dance Music” turns breakbeats, tape hiss, and dissociation into something harder
