Posts Tagged ‘track stream’

The differences between proper indie labels and major labels are manifold, but a key one is not professionalism, but passion. Riot Season release records for the love, not the money: they make enough to keep releasing albums, and that’s pretty much the aim. It’s by no means a capitalist endeavour. So when Andy announces the next release thus, it’s a sincere reflection of what it’s like to release an album by a band you love:

Over the years, I’ve released many a great noise rock (for want of a better term) record.

And pretty much every one of those bands have been influenced at some point by the Swedish underground legends BRAINBOMBS.

A band that thrills and disgusts in equal measure. With their bludgeoning repetitive riffs, and interesting lyrical themes, They’re pretty much held up as masters of the genre.

So, to be sat here in August 2025 announcing I’m releasing their new album on my little label is a fucking thrill. I’ve been listening to it non stop for about two solid months, and now you lot finally get to have a taste yourselves

And the press blurb is gold. Read it, and then get stuck into ‘Midnight Slaughter’ below. It’s a killer.

PRESS BLURB

The Swedish underground legends return with a brand new album.

Let this reddit user take over …

“Listening to Brainbombs has been one of my weirdest experiences with music.

Brainbombs are most definitely a band. I guess at the core they’re a hardcore punk/noise rock hybrid I guess? But… its so unlike anything I’ve ever heard and I still don’t know if its good or bad. I saw the edgelord Ed Gein album cover, and it intrigued me, so I listened to their biggest song and it was easily THE WORST thing I had EVER FUCKING HEARD. I shut it off as soon as it got to the vocals. I was shocked by the fact that it had almost a half million streams. But, a few hours later, I clicked on it again and didn’t know why.

Over the past few days, I’ve listened to all of their discography and looped a lot of it. And I don’t even think I like them. The music is abysmal, its the same single riff and verse repeating for 5 minutes. To make it worse, the vocals are just a guy with a swedish accent awkwardly talking about murder and rape. That sounds awful right? It is awful. But at the same time I want to keep listening? It’s so childishly edgy and obnoxiously repetitive but so.. intriguing? Catchy? I’m not even sure. Its one of if not the weirdest experience I’ve ever had with music and I don’t know how to feel about it.”

Anyway: this is good noise. Listen for yourself:

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Plain Simple Honesty is the eighth solo album by Gothic Blues exponent Ledfoot (aka Tim Scott McConnell) and is exactly what its title suggests: a collection of brutally honest songs straight from the heart. They tell small yet powerful stories, guiding listeners through the darker corners of the human psyche where setbacks are constant, yet his characters endure despite it all.

The themes explored on the album feel especially relevant in the unpredictable and often dark present, with the title track and songs such as new single ‘Hard Times’ painting an unsettlingly accurate picture of everyday life for many in 2025. “About forty years ago, I wrote a song called ‘High Hopes’ about being working class and trying to stay optimistic despite hard times,” says Ledfoot. “The hard times haven’t diminished….but maybe some of the optimism has.”

‘High Hopes’ has a famous back story, first released on the Tim Scott McConnell solo album High Lonesome Sound (1987), and then again on the 1990 debut album by his band The Havalinas, before Bruce Springsteen later released several versions of it, most notably as the title track of a solo album issued in 2014.

Listen to ‘Hard Times’ here:

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Pissed Jeans have shared a cover of Lou Reed’s ‘Waves Of Fear’, available worldwide on all DSPs from Sub Pop. The song was recorded during the sessions for their acclaimed Half Divorced, a 2025 Libera Award nominee for “Best Punk Album.” It was also available as a limited edition flexi disc, which was released in conjunction with their cover feature for the US punk zine New Noise Magazine last spring.

Matt Korvette says of the song, “The seasick bass riff that centres ‘Waves Of Fear’ is one of my all-time favourites, so we had to take a stab at this paranoid, self-loathing classic. I yell ‘take it Crystal!’ at the end because Crystal Waters frequently records in the same studio we had recorded in, and we were hopeful she might ad-lib some soulful vocals at the end, the next time she stopped by. Sadly it did not pan out.”

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Pissed Jeans have a series of shows coming for the spring and summer of 2025 in continued support of Half Divorced, including an appearance at the Green Man Festival in Wales on 15th August.

Sat. Apr. 12 – Allentown, PA – Archer Music Hall (w Orphan Donor)
Sat. May 24 – Milwaukee, WI – Cactus (w Necron 9, Sex Scenes)
Sun. May 25 – Minneapolis, MN – Caterwaul Festival

Fri. Aug. 15 – Wales, UK – Green Man Festival

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SUMAC and Moor Mother share the new piece ‘Hard Truth’, taken from their upcoming work The Film, to be released on April 25th. The piece highlights how inscrutably bold their collaboration is, invoking a haunting vocal melody atop burbling electronics and a density of distorted pulses, the throb accentuated by tactile scrapes. As a mere hint to what is contained within the album’s labyrinthian scope, the piece is brimming with the subtle, yet boundless creativity that the ensemble explores across the album.

The Film’s moniker speaks to the fact that it is conceived and delivered as a complete album, a full story or narrative. Moor Mother puts it best: “The idea is to create a moment outside of the convention. This is a work of art. Thinking about the work as a Film, instead of an album or a collection of songs. This task is impossible in an industry that wants to force everything into a box of consumption. You won’t understand or get the full picture until the artwork is completed. This work is developing and is requesting more agency within the creative process.”

The Film does have clear themes running throughout – again Moor Mother expounds: “the themes are universal in nature – land – displacement – the climate – human rights and freedoms – war and peace – the idea of running away from the many violent forces and horrific systems of man and empire.”

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Photo credit: Paulo Gonzales

With the US cult act Psyclon Nine currently midway through a North American tour, ‘Devil’s Work’ is the second boundary breaking single to be lifted from their forthcoming new album. Possessing a similar brooding, menacing quality to its recent predecessor, ‘I Choose Violence’, both songs are included on And Then Oblivion, set for release on 21st March 2025 via Metropolis Records.

Melding elements of Industrial Rock, Metal, Deathcore, Ambient and Trap, band leader Nero Bellum has previously stated that his modus operandi is “to break as many genre limitations as possible, while staying true to the concepts and imagery that Psyclon Nine evokes.”

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Finnish stoner rock titans KAISER have just released another thunderous new single from their forthcoming second album 2nd Sound,  which is set to be released on March 7, via Majestic Mountain Records.

Titled ‘Awaken Monster,’ this new track premiered at Decibel Magazine, who praised the track stating: “With a sound that stands tall and proud in the center of the sun-baked desert fuzz/soulful British electric blues/thunderous doom thrash Venn diagram, the trio from Helsinki come out swinging with their latest work.”

The band had this to say about the track: “This song was crafted in the wake of the world reopening after the long, isolating shadow of the Covid era. It captures the essence of reclaiming all that was lost or deferred during those times. More than just a song, it’s an anthem about awakening from a state akin to death, to truly live once more. It’s about the rebirth of experiences, the joy of connection, and the triumphant return to life’s vibrancy that we feared might be gone forever.”

Formed in 2013, the band — Otu (guitar/vocals), RiQ (drums), and Pex (bass) — has steadily carved their own path through the Finnish rock scene with their signature sound, influenced by the likes of Kyuss, Sleep, and High on Fire.

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“Golem Mecanique touch[es] upon the ashes and fibres of back metal and the DNA of gothic music, literature, sorcery, and most of all—poetry.”  – Stephen O’Malley

The last words that poet and visionary film director Pier Paolo Pasolini said in his final interview were “Siamo tutti in pericolo”; translated: we are all in danger. Pasolini was then brutally murdered on a beach in Italy, a case which is still cold today.

On this album, named after the man’s final public words, Golem Mecanique loses herself on that same Italian beach alongside his body and translates her observations and mourning into a devastating musical landscape. Siamo tutti in pericolo will be released via Stephen O’Malley’s Ideologic Organ label on 14th March.

Siamo tutti in pericolo is dangerous, conveying the darkness and uneasy nature of both the art Pasolini created when he was alive and the circumstances of his murder.  In her early teens, Golem taped the Pasolini film Accatone when it was shown on television and watched it the next day after school. In her words, “it was an earthquake!”,

Immediately leaving a great impression on her as it was unlike anything she had ever seen before. She describes the feeling she has when watching a Pasolini film as “silent violence” – a cold and radical response which calls into question her beliefs about the behaviour of people and lies and truth. She hopes to evoke this feeling with her music – a melding of beauty and dread.

Today, she shares the track ‘La Notte’ from the album…

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Born from a love of experimental rock, noise rock, early industrial, sludge, and doom, Guiltless (featuring members of A Storm of Light, Intronaut, Generation of Vipers and Battle of Mice) heralds the coming of a heavy music which looks both inwards and out to convey the encompassing mixture of hope, despair and determination which comes from observing life as we know it today. Guiltless released their debut EP, Thorns, via Neurot Recordings in early 2024. Crushing and cheerless, it seemed to welcome the apocalypse looming on our collective horizon.

On March 7th 2025, Guiltless shall release their debut full-length album Teeth To Sky via Neurot, a record more pulverising, focused and introspective than what came before.

Today they share the bruising title track today, which combines the gnarled sensibilities of The Jesus Lizard, Cherubs and Barn Owl into a rumination on Mother Nature’s revenge. “The title track represents a surrender to nature’s unstoppable force,”  vocalist Josh Graham says. “As climate extremes continue to grow and impact virtually everyone on earth, we are now facing the impact of our forefathers’ actions, and our children will live through a new and unprecedented future.”

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Photo credit: Gulnaz Graves

Ipecac is honoured to release the new album from legendary musician, composer and arranger, Jean Claude Vannier. Jean Claude Vannier et son orchestre de mandolines, out on Feb 14th, 2025 is a playful album of beautiful reveries composed on mandolin and accordion, that are both poetic and unrestrained. As a taster, the new track ‘La 2CV rouillée’ (‘The rusty 2CV’) has been shared.

About the new track, Vannier comments;

I’ve always dreamed of writing for a mandolin orchestra – the instrument’s tremors seemed apt to expose romantic and sentimental melodies. It brings back old memories.

On Sundays, my father used to take us to the countryside in his 2cv.

It’s a funny car, with the slightest change in speed, a flick of the brake or the gas pedal, and it rocks like a duck on the water.

During these drives, I was unable to see the landscape because I was seasick.

My father was an inventor, and had come up with a rudimentary air bag that went off at the slightest jolt.

Those rides in the countryside were a nightmare for me, and I now avoid trips in the 2CV…

A pinch of strings, a hint of childhood, melodies that touch the heart, orchestration that is always unexpected… these are just some of the elements to emerge from this album.

Listen to ‘La 2CV rouillée’ here:

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Photo credit: Léo Alestro

AMBER ASYLUM reveal the title track taken from their forthcoming new album Ruby Red. The tenth regular full-length of San Francisco’s neoclassical dark ambient quartet has been slated for release on February 14, 2025.

AMBER ASYLUM comment: “The title track of our new album, Ruby Red, is a poignant dirge that directly addresses the pain and loss inflicted by the pandemic, riots, war, and the looming specter of death”, frontwoman Kris Force writes. “Its haunting melody resonates with the collective sorrow and anguish felt in the aftermath of recent upheavals. Through mournful vocals and evocative instrumentation, the song serves as a solemn elegy, amplifying the echoes of grief caused by these tumultuous events. Each note carries the weight of collective sorrow, inviting listeners to confront the harsh realities of our world and to find solace in shared experience.”

Listen here:

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In times of trouble, women have often had to bear an even heavier burden throughout history. On their tenth full-length Ruby Red, San Francisco based all-female quartet AMBER ASYLUM offers a haunting reflection on turbulent eras, and blends instrumental passages with evocative lyrics. Ruby Red combines dirges, introspective laments, and powerful songwriting that evoke both despair and hope. The album transitions between themes of pain, loss, empowerment, and mortality, while creating a sonic landscape that is both raw and introspective. "Ruby Red" features bass, classical strings, percussion and kit, modular synthesis and female voices.

Ruby Red differs from its predecessor in the expansion of focus and depth. While earlier albums centered more on personal emotions, relationships, and journeys, Ruby Red broadens its scope to address global issues such as societal upheaval, war, and human rights. This album navigates both the personal and the global, and aims to illuminate the seen and unseen forces that influence our shared reality.

Musically, AMBER ASYLUM balance driving neoclassical elements with the raw power of pounding bass and drums, adding a potent, rhythmic force that contrasts beautifully with the quieter, brooding strings on Ruby Red. The bass and percussion create a compelling pulse that underpins the tracks, adding both intensity and depth to the album’s darker moments.

AMBER ASYLUM have taken inspiration for the lyrical concepts of Ruby Red from significant global issues such as the pandemic, riots, war, political turmoil, the threat to women’s rights, and empowerment, all while maintaining a deep connection to the extramundane. It reflects on mortality and the inevitability of death as part of a greater cosmic order, intertwining these global crises with metaphysical reflections on the resilience of the human spirit.

AMBER ASYLUM were conceived by composer, singer, and multi-instrumentalist Kris Force in the Californian city of San Francisco in 1990. Throughout their ever-changing musical evolution, the band has shifted throughout a variety of styles and collaborated with a host of musicians such as Steve van Till (NEUROSIS), Sarah Schaffer (WEAKLING), John Cobbet (HAMMERS OF MISFORTUNE), Leila Abdul-Rauf (VASTUM), among many others. 

With Ruby Red, AMBER ASYLUM perfectly capture the growing dread and horror of many of a new dark age falling in our time. Yet the Californians balance the eerie and unhinged with a fragile beauty and blossoming of hope. Ruby Red is a most fascinating soundtrack of all that is to come. Listen carefully.

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