"Deep Sage, Gouge Away’s third studio album, started coming together in 2019 during sound checks and in small pockets of downtime between tours. In early 2020, they demoed with Brok Mende in an unassuming storage unit in Orlando. They pulled influence not only from the nostalgia of the bands they grew up listening to but also developed the sense of urgency, noise, and introspective lyrics they felt most represented them. Those demos helped shape the songs into the finished record that Deep Sage would become."

"This is just one example of numerous enthusiastic national and international reviews, all of which have a common denominator: fresh neo-psych rock, songs that leave plenty of room for improvisation and jams at concerts – and you have to experience it live!"

"Having first played music together during the mid-2010s in the indie-psyche and punky-shoegaze bands King Colour and SCK CHX, the two Australian musicians/DJs came up in the warehouse party scene that fermented in the wake of the Sydney lockout laws. While organising mixed media events under the Yeah Nah Yeah brand, they discovered the joys of disco, dance-punk and the Balearic beat through Pender St Steppers’ DJ mixes and reissue releases and found themselves changing direction in response."

Born out of a drum beat Ewan pulled out his back pocket during a soundcheck in the song’s namesake, ‘Detroit’ is a big ol’ slab of noise rock about a hideous man with even worse behaviours. Better we let Matt take it from here. He’s the lyrics guy: “Detroit reflects on the worst manifestations of male jealousy and resentment, and the ways in which the deliberate avoidance of accountability can lead to deflecting responsibility in exchange for blaming external forces like fate or God for perceived injustice”.
With that in mind, proceeds that this track generates in 2024 we’ll be donating to domestic abuse charities ahead of the tour. Source: Bandcamp

"Finnish Psychedelic Black Metal innovators ORANSSI PAZUZU are pleased to announce that their latest mutational meisterwerk, Muuntautuja (or Shapeshifter in English) is set to be released on October 11th, 2024 via Nuclear Blast Records. A boa constrictor of slithering, warping, interdimensional cosmic horror, the band's sixth full-length Muuntautuja is in a world of its own, seeping through the speakers like irradiated sand. Ever transmuting, unsettling chords that raise the hairs on the back of your head and then pummel it with nauseating rhythms that both transport and destroy you.
Drawing inspiration from eclectic sources ranging from Death Grips to Portishead, Nine Inch Nails (Downward Spiral era), Beherit and My Bloody Valentine, ORANSSI PAZUZU are a feast for those who dig deep, heavy and strange. With inhuman and biological sound, Muuntautuja is electronically charged, both organic and inorganic in origin." Source: Nuclearblast.com

"Whilst this particular mercurial incarnation summons the party dimensions from which we were first introduced to this band well over a decade ago, it also possesses no shortage of curveballs and curiosity. ‘One More Death’ and ‘Goatbrain’ are spectacular curtain-raisers, embodying a hedonistic spirit driven by incisive funk and possessed by merciless fuzz/wah-drenched guitar. Yet if these and the filthy, swaggering groove of ‘Dollar Bill’ mark familiar territory for Goat devotees of old, ‘Fools Journey’ is just the first of several journeys into the beyond - a blissful drifting meditation infused with free jazz and shamanic overtones which bears the hallmarks of their concurrent project Djinn.
True to the notion of this band effortlessly straddling past, present and future, ‘Frisco Beaver’ - another irresistible party-starter powered by insistent guitar filigree and percussion-driven trance-states - is a literal sequel to ‘Disco Fever’ from 2012’s World Music. Yet elsewhere Goat can happily look towards new horizons and come back with some of the most righteous vibrations they’ve yet delivered. The band’s love of hip hop is the fuel for both the rollicking ceremonial throwdown ‘Zombie’ and the end-credits-epic album closer ‘Ouroboros’ which marries infectious chant to breathless Lalo Schifrin-style breakbeat action. And which also means ultimately, like the titular oldest allegorical symbol in alchemy, we’re right back where we started." Source: Bandcamp

A harrowing document of life, death and transcendence, Do You Still Love Me? is the fifth album from Planes Mistaken for Stars (PMFS), the band’s second outing for Deathwish Records and first new music since 2016. It is also the first PMFS release since the death of frontman Gared O’Donnell, whose cancer diagnosis loomed heavily over the recording and whose ghost guided the mix. Chemo and radiation would not stop him from making this masterpiece, in which the band finds itself reeling from the gut-wrenching horrors of their leader’s unimaginable absence.
Written in Peoria amidst the forced isolation of a global pandemic and recorded by Sanford Parker in Chicago, these thirteen songs burn the ears to listen. Album opener “Matthew is Dead” wastes no time with niceties as Planes mourns the 2017 death of founding guitarist Matt Bellinger — Gared’s throat-shredded rasp seethes as if taunting himself: You’re dead, you’re dead, you’re dead— guttural human screams unbottled and broken glass shattered as transcendental meditation and musical catharsis, for band and listener alike. These acute and raw moments are found throughout the record, audible wounds you can hear, see, taste and almost touch. We’ve only got the night, as Gared knew and preached and lived. Just one last drink, shall we begin? Do You Still Love Me? carries forward Planes’ natural evolution beyond post-hardcore and metal-tinged rock n’ roll, unveiling new layers with each listen. Intertwined vocals and infectious melodies simmer beneath the surface and occasionally boil over, shards of guitar strike like lightning as the rhythm section pounds its marching orders. Whether pummeling mercilessly or tenderly relenting, Do You Still Love Me? shows a band unafraid to lose itself in the musical maelstrom. I don’t have the shakes, the shakes have me — it’s not an easy listen, yet offers immense rewards with time, alchemizing a unique beauty from the pain and tragedy of its creation. It’s an emotional bloodletting for Planes and their extended family around the world, a collective primal scream of coping with life and last breaths, and eternal proof that death is truly not the end. Source: Bandcamp

“What we’re doing with Buñuel is to carve out a very specific glimpse… partly into hearts of darkness, but more specifically into the depth of our secrets. Secrets we keep from each other, ourselves and whatever futures we’ve imagined for ourselves. We are ultimately trying to communicate something direct and deadly about the human condition.” - Eugene Robinson

"Like the towering mounds of toxic waste from which it gets its namesake, the music of Oklahoma City noise rock quartet Chat Pile is a suffocating, grotesque embodiment of the existential anguish that has defined the 21st Century. It figures that a band with this abrasive, unrelenting, and outlandish of a sound has struck as strong of a chord as it has. Dread has replaced the American dream, and Chat Pile’s music is a poignant reminder of that shift – a portrait of an American rock band molded by a society defined by its cold and cruel power systems." Source: Bandcamp

While the members of AWOLNATION had already been sailing straight into their heavy-music past via new side project the Barbarians of California, they've now linked up with Snapcase vocalist Daryl Taberski to deliver their most whip-cracking thrasher yet. Today (June 6th), the band debuted their latest smoked-out single, "Far Out, Bro." Source: RevolverMag.com