Dronaement - Fieldbox

Fieldbox cover art 

Three albums worth of amazing field recordings, drone, and bizarro folk rock. Haven't yet delved completely into this one but I'm sure it's gonna consume me...

Download the digital version for whatever you feel it is worth (and it could be worth a lot) or select the physical, triple disc edition with some fantastic artwork and outtakes.

Cavallo - Sleep with Wires / / Almost Colossus

Sleep with Wires // Almost Colossus cover art 

Eleven minutes of instrumental chaotic awesome stretched across two tracks.
Bonus: Available in an affordable and badass vinyl format.

Gaul - Gaul

Blackened Doom metal. Very depressive, very slow. I'm digging it.

Interview with The Speed Of Sound In Seawater

The Speed Of Sound In Seawater do an intricate and upbeat form of experimental rock, and are well known in circles of fans of math rock and emo. Here, I asked a few questions.

Q: What are your thoughts for the future? Where will you guys go? Do you have any plans to experiment with any other genres of music or incorporate them into your style?
A: We're going to be taking a break for the next few months while Damien studies abroad in Italy. Once he gets back we plan to finish writing our new album. Our next release will be our first full length album. We're excited to finally be releasing something other than an EP. The songs we've been writing lately feel more refined than our releases in the past. By now we've finally figured out what TSOSIS is and how that differs from other bands in the genre.

Q: What are your thoughts on the label "math rock"? What do you class yourselves as?
A: When I hear Math Rock I think of Don Caballero and Hella. Math Rock to me is more technical than what we are playing. I think the "Math Pop" label is a bit more accurate in regards to TSOSIS, but I still feel these subgenres and prefixes are silly. I don't want "math" to become the next "core" or "post". I think it implies something that TSOSIS doesn't really embody. We play in 4/4 most of the time and we don't do a lot of tapping. I like being lumped in with Math Rock bands though, because they're some of my favorites and it's such a great group of acts, regardless of the genre's meaning.

Q: Who are you most influenced by? What has driven your sound? I hear jazz in some tracks and I even remember something reminiscent of house music towards the end of one song. Is this something that just came out of nowhere or do you guys prefer to write with a very specific goal in mind?
A: Our influences are fairly eclectic. All of us are big fans of both Andrew Bird and Joanna Newsom. We also grew up listening to a lot of indie pop like The Unicorns, Beulah and The Apples in Stereo. I think that comes across in some of our writing. Parts in our songs are fairly digestible but offer a technical touch that is uncommon within indie rock acts.

Underwater Tell Each Other Secrets: the latest EP released.

Q: Are any of the band members pursuing their own projects?
A: Damien is about to be releasing his first solo record under the name So Much Light. It comes out August 3rd and features a couple members from A Lot Like Birds plus string and woodwind arrangements by Jesse Kranzler of WITT and Town Hall. Jordan and Luke from TSOSIS also do backing vocals on it as well as Evan Ferro and Mike Sparks from By Sunlight. Damien also has a project with Juli Lydell of The Dreaded Diamond called Mansion Closets. They're releasing some songs at the end of Summer. Jordan and Luke have a side project appropriately titled "Jordan and Luke" and Jordan has always been a home recording wizard. You can find a couple songs of his here: www.jseavers.bandcamp.com

Q: When and where are you guys touring?
A: As I said earlier, we're taking a bit of a break for a while since Damien will be gone for the next 3 months, but after that we'll hopefully be doing another tour. We want to work our way into Texas and the midwest on our next trip. Hopefully that'll happen sometime during 2013.

Q: What bands would you recommend to people who like your stuff?
A: We recently played a show with a band from Ohio called CityCop. Their set gave me chills. It was incredible. It's like post-hardcore with a nylon guitar player instead of an electric. Fantastic! We've also been listening to our friends Stolas from Las Vegas. Those guys are great and we can't wait to get them on the road with us someday soon.

The Speed Of Sound In Seawater's discography can be listened to and downloaded for free at http://thespeedofsoundinseawater.bandcamp.com/

From Exile - Monolith

Monolith cover art 

If you find yourself with a free half hour and nothing to listen to, why not hit play on this magnificent journey through the human consciousness. This record bleeds awesomeness and hits all the right notes for a progressive metal masterpiece, fluctuating between gorgeous dual-guitar driven majesty and hard hitting psychedelic interludes.  While it's nearly 3 years old, it's certainly worth an investment of your time and money. These guys also have an acoustic demo track and a couple of live tracks that you should check out too.

Cal Beaney - The Effects Of Visual And Auditory Distractions On Recall

"Music takes a part in daily life, and is often listened to during all forms of work and relaxation. It is - though not necessarily noticed - around us for a large period of our day, manifesting itself as birdsong, radio broadcasts, games, television, a passer-by whistling, or from actively listening to it. In particular, students may listen to music while studying, or respectively, someone at work. However, many studies concerning music and task performance have been inconclusive. This study was conducted with the above discussion in mind: how can we improve people’s performance in work and study-like scenarios, while still taking into account the individual differences of the general population in terms of personal taste? This study was conducted by placing participants in environments where the main distraction was either auditory or visual, and making them perform difficult cognitive tasks. It was expected that the more aggressive auditory conditions would inhibit performance most, and this was found to be the case"

This is a psychology experiment I did as part of my college work. I decided to pit catchy, 4/4 based Electrohouse against Mathcore and Post Rock, and see how much each one affected people's ability to perform mathematical and logical-reasoning based tasks. Not the best written, but you may enjoy it.

Moirae - Antemortem

These guys do Atmospheric Sludge. Kind of makes me think of Amia Venera Landscape, but more conservative in style.

Snailking - Samsara

Awesome Sludge/Doom. It's so, soooooo goooooddddd. Really absorbing to listen to. I recommend.

Edit The Sad Parts - Discography

Spoken Word Indie Folk/Slowcore with an emo-y vibe kind of like a mix of Patron Saint Of Bridge Burners and New Orleans Swim Team. Really beautiful. Have a listen.

Qwertzuiop - Unending

Quertzuiop do what is essentially a mix of Dark Ambient and Atmospheric Black Metal/Blackened Post Rock. I find that through the found sounds, the subtle drumming, the atmospheric humming and everything else, this is a incredibly overwhelming EP with a lot of promise. It's quite minimal but also full of sound and full of subtleties which make it greater than the sum of its parts.

I Kill Giants - Discography

The latest EP seems to be very short and sweet math rock/miswestern emo, but the early work is more math rock with a bit of pop punk; which kind of makes me think of Kit Fisto.

Duck. Little Brother, Duck! - Survival Is Not A Workout

Math Rock more rooted in Post Hardcore and Punk than it is Midwestern Emo. Quite interesting to listen to. These guys may end up growing on me a hell of a lot.

Being-Toward-Death - Album Opening

One 12 minute track: think droney experimental classical. "Doomy avant-garde classical stuffs", as he put it.

Interview with Bomb The Music Industry!

Bomb The Music Industry! have a very eclectic sound to their music. They tend to do a variation on ska punk; usually of a very emotional nature. Here, I talked to Jeff about their band and how it has progressed.

Cal: You have a very unique sound which has progressed over time: was this an intentional thing, or something which came naturally?
Jeff: Aw shit, thanks! I think a lot of it has to do with the people who listen to Bomb the Music Industry! that were super accepting when we worked outside of the more conventional loud and fast punk rock song structures. From the start it was very encouraging that the weird chances that I would take songwriting-wise would seem to connect with people and wasn't just pretentious bullshit. I mean, the first Bomb the Music Industry! song was literally three minutes of acoustic guitar with a weird drum machine beat in the background before anything else happened... I expected no one to hear it and the few people who DID hear it to go "what the fuck is this?" And granted, we're not doing anything super avant-garde but I definitely like to keep thing as non-conventional as possible while trying to keep making pop songs. Also, I listen to a lot of music and I'm always discovering bands I should have been listening to my whole life, so all that stuff that is new to me definitely creeps into every record.

C: Your influences and experimentation spans many genres: has this come from band members having different backgrounds, or have you all had very eclectic tastes?
J: Well, most of us were born and raised in Long Island, Matt Keegan being the exception and he was born and raised in San Jose which is pretty similar to Long Island. So I don't think it comes from that. I've always really liked hip hop since I was a little kid, but punk rock was more natural to me as a writer. We all listen to all kinds of stuff, though. Why would you want to limit yourself to listening to one style of music, right?

C: Are you on tour? Where will you be going?
J: We start tour in a week and a half. We will be going to the west coast very quickly. We all have jobs and crazy shit happening in our lives non-stop so it's hard to get away for more than a month at a time. When we do that, inevitably one of us loses our job.

C: Have you got any plans for future releases? Where do you think BTMI! will go next? Closer to the crazy emo-ska-punk-whatever, or will you bring in more electronic influence?
J: I've been writing some stuff that's pretty sad and dark, pretty much since Vacation was done. For a while I was trying to get rid of those songs cause they were kind of a bummer, but the more I write the more it tends to gravitate towards that. So I think the next record is gonna be a slower, sadder one dealing with the shittiness of the human condition and mental illness a bit more directly. I just kinda write what's natural to me at the time and for some reason it's that right now! Uh-oh!!

C: Are there any side projects from other members now or in the foreseeable future?
J: Mike Costa has a solo project called Binary Heart, which is kinda Alkaline Trio/Smoking Popes type stuff. Me and Matt have been jamming a bit with the drummer of Shinobu since he's moved to New York... that band sounds really loud and weird and is called The Simpsons. I'm pretty sure John is still playing bass in the ska band Nix 86. I have no idea if Tom is in another band, but he should be! He's a great guy!!

C: Finally; would you mind giving us a history of the band?
J: Bomb the Music Industry! used to not really get any pizza or beer at shows but now most times they give us beer and occasionally even pizza. I think that about brings ya up to date.

Jeremy Arden - Focussing the musical imagination: exploring in composition the ideas and techniques of Joseph Schillinger

no pic ;_;

Schillinger criticized traditional notation for various logical faults, such as how a bar a 5/4 is separated into 5 quarter notes. He addressed his preferred method with his own system which is still utilised today. This paper discusses and explains that in minute detail. 203 pages long: not light reading.

Glowhouse - The Shadows Left Me Alive

Glowhouse released another full length! This time, they've taken to a very minimal feel to much of their work, and added in a bit of ambient influence. Generally, I would call this Indie Folk/Slowcore. Depressing as hell and very beautiful. After a few more listens, I will write a full review on this, but check it out now!

Uboa - Sometimes Light

Think a mix of Funeral Doom, Atmospheric Sludge and the odd step into drone
here or there. I rate this quite highly. It's kind of like a more atmospheric answer to what Khanate or Monarch! do. It feels much more restrained, but is still interesting and... surprising.

Discussions on serialism and atonal composition

Diana Raffman - Midwest Studies in Philosophy; Is Twelve-Tone Music Artistically Defective? (2003)
>an indepth discussion over the titles topic. Well worth a read.

Frans Absil - Composition: using 12-tone chords with minimum tension
>what it says on the box

Radiohead - Reflections On Kid A

A documentary containing live performances and interviews with the band about Kid A and its effect on them.

Frailty - Silence is Everything EP

Silence Is Everything... cover art

This EP serves as an appetizer to this band's most recent full length release. Symphonic doom metal, straight up with no drone or stoner influence. This stuff is high concept with low, low lighting...
Check these guys out if you dare; their music is hard line metal with a dark, primordial ooze flowing throughout...
From the band concerning the full length release Melpomene:
"The meditations of darkness are going hand in hand with the epic hymns and the horrors of madness." 

Lowercase Noises - Migratory Patterns

Migratory Patterns cover art 

The image says so much for this music. Gorgeous depths, vast expanses of blue, warm currents and the shiver of loneliness... A great accompaniment to a nap, a spiritual journey, a romantic tryst, or for zoning out and forgetting the hectic world that waits beyond the surface...

Monarch! - Omens

This 2012 release is one of the finest albums this year. Monarch! are a Funeral Doom/Drone Doom outfit influenced by Sludge, and as such they bear a strong resemblance to Khanate's work. However, looking through the cutesy aesthetic some of their albums possess which may give some the impression they don't take themselves seriously, what you actually get is this muddy lake of feedback, long, dissonant and droning notes, and screams from the angriest woman you'll ever hear. Monarch! seem to have this skill to create drone which truly gives you shivers and really absorbs you with the gravelly, rumbling guitar tone, war drums which slowly follow much like Earth's drumming on their last couple of albums, and an all over wall of sound enveloping you. The squealing feedback isn't quite as abrasive or frequent as Khanate's use of it, but it has an urgency or direction which their's lacks. From the first track to the last of this album, you get the feeling there should be a concept to it, or a story of something or someone driven to something. What that drive is, I don't know, but it's there, and once you get it, you won't want to stop listening. This album may be hard to access to those not used to this sort of stuff, but I'll tell you now: this is nothing compared to some of their other works.

La fin Absolute du Monde - Au Revoir

Au Revior cover art 

Violent and oddly danceable. There's a lot of genre bending here, moving from hardcore, almost club-type dance music with touches of autotune and industrial drumming to ambient sections that are pure sonic velvet. Slinky and sophisticated if not a bit off-kilter. This is the music for nightmare lounges with zombie pianists and ghoulish singers that entertain the various creatures of the night.


Nick Stutsman - Home Now

Depressive Indie Folk along the lines of Keaton Henson. Some violins and other prettiness. Some of it may even surpass Keaton, but time will tell.

Hapopy - Kinkajou

Hapopy is a New York-based post-hardcore collective known for their fusion of various musical elements, such as punk, hardcore, mathcore, classical, atonal, indie rock, folk, pantonal, and drone. In their live performances, they are also known to exhibit influences from dub and reggae. They released their first self-titled EP in April 2010. Their music is highly “free-verse” and constantly breaks new harmonic ground, including heavy variation in rhythmic meter compounding.

I regularly listen to noise and drone, but even this is too deep for me. EDIT: HELP ME I CAN'T STOP LISTENING TO IT

i AM esper - The Ghosts Of The Fallen Trees, Awaken The Living

Had to share another one: think blackened funeral/drone doom. Very slow, very minimal and very depressive.

i AM esper - Sun & Moon: Between Dimensions

A mix of post rock, ambient and drone, all improvised. Get it!

Belzebong - Sonic Scapes & Weedy Grooves

Absolutely essential Stoner Drone/Doom. A stunning album. It's worth the $5, but I'll probably up it at some point anyway.

Cyclopian - Cyclopian

Atmospheric Sludge with the odd doomy vibe to it.

Nurture - Nurture

Emo with incredibly strong vocals: I'm talking William Bonney level emotion.

Alda - Tahoma

Post Rock/Atmospheric Black Metal with a pinch of Atmospheric Sludge at times. Pretty damn good.

Judd Madden - Discography

This guy does droney Stoner. Some Post Rock too . This will probably end up being what I consider an essential artist, so do have a listen.

Blackwolfgoat - Dronolith

Dronolith cover art 

This record is amazing. Get it and get lost.

Buke and Gass - +/-

+/- cover art 

Startling and immense. This is an old record but a great way to fill the silence.
Check out their newer track, posted a while ago but free to download.

Savagist - Domestic Becoming Feral

Domestic Becoming Feral cover art 

Fantastically brutally and well-honed metal reflecting the contemporary styling of modern rock gods Baroness and Mastodon. A well paced and rewarding listen. Spend a little time with these gentle(beast)men and you'll be ready to take on the goblin horde that is other people...

False Light - False Light

Hardcore/Powerviolence. It sounds like the artwork. LISTEN TO THIS.

Droughts/William Bonney Split

Emo awesomeness can be streamed here! If you consider yourself even slightly into emo you should probably own as much of their merch as possible.

Pegasia Music

Ambient label. Their newest compilation 'Faint Young Sun' features a track from me. They have also released other /mu/tants music.

Kiki Pau - Pines

Pines cover art 
Pretty awesome stuff. Improvisational, epic, and a good time.
Surely worth a listen, a download, or an in depth analysis/obsession.

Gnarwolves - Fun Club

Fun Club cover art 

What?! You haven't heard the Gnarwolves' debut EP?! 
Hell son, you just don't know what it is then do you? 
This record is just what it claims to be... fun! From start to (swift) finish it's a blast. Excellent beats, substantial lyrical content, and some dashing harmonies really round this release out into something extraordinary. The breakdowns are incredibly rousing and potent, throwing stones at what you thought you knew about emo and its relationship with punk rock.
Keep an eye on these fellas, they have a new EP out this month.

Alkmorhilyion - Emptied

Black Metal so lofi that it can be classed as Noise. I'm pretty sure this is an intentional thing, as many other artists on the label seem to be purposefully merging the two genres.


How the hell did I miss this? Math Rock with a lot of Post Hardcore influence.

the human fly - everything feels bad all at once

Depressive Lofi Indie Folk/Slowcore influenced by The Microphones and other Indie Folk artists. Very solemn and slow.

PapayƩr - E.P.

Slightly mathy Midwestern Emo. Goes between depressive sections and happier sections.

Stasisfield Records

An experimental electronic label housing field recordings, lowercase and much more.

Artists of War - Black Dragon Review

Black Dragon cover art 

Third record from one man metal machine Artist of War. This might be his most well thought-out record so far. Every song feels calculated and the album as a whole takes on a great vibe of straight up death metal rather than the heavily conceptualized progressive metal that pervaded his last two. Love the vocals on this record. Brad Olsen, the artists who channels the various beings that create this music (The Dragon, Dynamo, and Skullcrusher) does an excellent job with his death metal vocals on this one, and manages to keep control over his often unruly high-range vocal talents.
As with most of AOW's previous work, the guitar here is the real focal point. Crushing riffs drive most of the songs here, beginning with the impressively doomy openers Gemini and Ultra Soul. 
 Gemini seems to take the perspective of some great villain whose actions have ended the world. While there is mostly satisfaction in the voice of the observer, some remorse can be felt for the chaos that has sheared away the peace of the earth. 
Ultra Soul is pure hallucinogenic doom metal with lyrics that reminisce on past triumphs and describe a haunting cosmic vision of transcendence. Similar to Gemini in tone and vocal quality, these two are great openers to this record.
Tyrannic takes a slightly softer tone from the outset with cleaner vocals and riffs that recall an embattled countryside with the smell of smoke and death in the wind. The drums are really restrained here and really match the music. This song just plods along evenly, eventually lifting up a juicy little solo section. 
If this album had a hit single, it would probably be the gut-wrenching Beyond Perdition. The main riff on this song is infectious and Olsen does a great job balancing his higher pitched vocals. The story unfolding in this tune is a contemplative one. Political could be thrown around to describe this song but its a bit more tempered. There is an overarching hostility to the concepts being confronted here yet a sadness for the inability to change things. 
Dutch is a strange one... Not sure I can really wrap my head around what it's about but given its reference to the (third?) reich and ice sweeping the plains I'd say it had something to do with warfare in northern Europe. However things are never so simple in an AOW song. There is still plenty of psychedelic imagery thrown around here (Miracles beaming out an angel's dick!?!) that really makes this song a joy to experience. Once again, stronger-than-previous high-range vocals on this song and some really aggressive shrill screams. The drumming/rhythm fluctuations on this track are pretty cool. As with most of the songs on this album the riffs may appear repetitive but there is enough substance in the lyrics and the arrangements to drive it to a strong peak accented by a shivering guitar solo and then a blistering march into the cold sweeps of some blood stained valley. 
Black Dragon is another highlight of the album, and the only instrumental track to be found. A decidedly post-rock guitar intro gets this one started before hitting the doom/drone button. The beast rises from its brine-encrusted slumber, slowly shaking the ancient sand from its eyes, and turns its glimmering oblivion gaze on you...
The album closer, Voracious Foe, finds AOW returning to the death metal vibe set up by the openers. This track is brutal and much faster paced than the rest of the album, lending it some of the holdover element of AOW's previous albums. This track really works as a closer, picking up a brutal, challenging pace that rides out from around the 5 minute mark and yields only once its enemies have been trampled under hoof. The drumming is really solid here and really shows off Olsen's talent as a multi-instrumentalist.
This album as a whole shows some welcome growth in AOW's writing style and really does a lot to make the songs more manageable for a casual listener than previous albums. Aggressively psychedelic, somber and sludgy, brutal and cosmic, Black Dragon is the epic wyrm of forgotten ages, a behemoth hellbent on shedding horrific light upon the earth.

Black Dragon 

Windhand - Windhand

Awesome stoner doom. vocals, but a lot of instrumental passages. Quite a lot of aggression at times, so if you've always wanted an angrier Earth, enjoy.

Slice The Cake - The Man With No Face

When browsing UG I happened upon a discussion about Symphonic Deathcore. Bemused, I asked if there was anything worth listening to in what sounded like the most offensive genre conceivable. They said this. It's quite good. Profound lyrics, okay riffs which have a little bit of a progressive sound to them, and not too much chugging.

Amor fizz - Cambio en caramelos

Pop Punk/Hardcore from Spain. Very happy and aggressive.

Louis Barabbas & The Bedlam Six - Memoir Noir

Memoir Noir cover art 

Really cool music from this UK group. These folks know how to craft dark, beautiful, and often catchy songs. This is their latest EP which showcases some of their most macabre compositional talents. 
Each songs is carefully crafted to deliver its own unique tone. The lyrics are psychedelic and challenging to grasp, but satisfyingly intense and well written. The music is a fun combination of big band, bluegrass, rock and roll, blues, and goth metal; something that could only be compared to the likes of Tom Waits, Nick Cave, and Don Chambers.
Check these folks out and give their prior releases a listen. This album doesn't have it, but there are some great male/female vocal duets and harmonies in a lot of their work.

The Brave Little Abacus - Just Got Back From The Discomfort, We're Alright

Emoish punk with an ambient, almost post-rocky atmosphere. It's rugged and chaotic, yet absolutely pleasant to listen to. The bubbly synths and samples compliment the other instruments well. Their repertoire  also features brass and occasionally orchestral string instruments as well as the regular vocals, bass, guitar and drums.Very interesting album. In fact, their entire discography is interesting and varied - and free.

(mediafire link provided by the band)

Scott James Meyer - Talking Behind Your Back

Stand up comedy.

Botanist - III: Doom in Bloom / Allies

III: Doom in Bloom / Allies cover art 

Insane almost begins to describe this severely amazing work of eco-terrorist black metal. It's a little hard to get into because of just how bizarrely different it is from what you may have heard before. 
Whispery, disturbing vocals. Powerful percussion arrangements. Hammer dulcimer.
Listen to this in wooded darkness and try not to be scared out of your mind.