“The End Of War” was already a warning shot. “The Cry of Nature” sounds like Escalate stepping over the line and making the whole thing uglier on purpose — faster, meaner, stripped
Suggestions
Suggestions
The back door of a brick bungalow in Evanston doesn’t look like much. Walk through it, head downstairs, cut past
The sessions happened early in 2024 at Electrical Audio, with Steve Albini (also featured today in this feature) behind the board
There’s a very specific image that sticks: Mitsuru Tabata outside Nakano Sunplaza in February 1992, not going into the Nirvana
Three years ago, Cathedral Bells were mapping out a hazy interior world—pulling from dream pop and post-punk, letting songs bloom
There’s a photo of a glass house full of palm trees, taken in deep winter in Gothenburg. It sits on
There’s barely any downtime in Shooting Daggers’ orbit. If they’re not playing shows somewhere in the UK or across Europe,
Doug wakes up already behind. The room isn’t his, the light’s too sharp, and the first step out the door
The riff that became “A Nice Relaxing Bath” didn’t sit right on its own. It looped in the practice space,
There’s a point where everything collapses at once and you either disappear with it or find some way to keep
Galang walked into Ibung’s coffee shop and the conversation drifted backward — to when South Pemalang had its own lane,
track by track
The tapes were sitting somewhere else the whole time. Back in May 2003, not long after Time Spent Driving had already split, a message went out to J. Robbins about mixing a
Premieres
Los Angeles industrial trio Signal Bleach’s new music video “Rats Eating Rats” hits like a short circuit: glitchy, abrasive, and hypnotic. Each frame is drenched in rapid movements and chaotic colors, where digital dystopia meets analog artifacts. Visual layers of saturated friction expand over
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There’s a version of that mid-2000s New Jersey circuit that still hangs
The third single from (16)’s upcoming covers record lands like a confession.
The first piece written for “Immobilism” takes its name from a way
Chevreuil have always treated the duo format like a piece of engineered
Popular
Interviews
There’s a moment in “F Me Tender” where the language drops any metaphor and just states it: “I starve myself.” No distance, no cover. But the song isn’t interested in documenting illness as a fact. It circles something else—hunger as a signal, a body
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A car losing control, hands back on the wheel, then slipping again
The first version of small talk. gathered around an iPod Touch in
Sometimes it’s worth going back instead of chasing the next New Music
There’s a point in “Lost and Haunted” where everything locks in —
