To be honest, the best way of describing it is "it looks like the artwork", but it's instrumental kraut-ish rock with a slight dissonance among catchy repetition in basslines.
Grind/Sludge/Crust group Maranatha, featured on here before, have a new EP of noisy fun!
LOW LOW FIE. Indie folk/slowcore at the same level of sad as Carissa's Weird. Just listen to it. I'm falling in love already.
If you're looking for something a little more conventional and mellow, this folky goodness is for you. A little too accessible for my taste, but it has it's moments.
Pretty much what it says on the tin, but this has drones in different keys (or, rather, notes), and on different instruments including strings, synths, and saxophones. It's ideal for practicing and just plain listening.
There are very few musicians that play for a cause as noble as liberty, and ever fewer are those that have managed to encrust strong purposes into music oh so correctly and imaginatively. Charlie Haden is a lotus in the grass that bursted in the name solemnity. By creating the large jazz ensemble Liberation Music Orchestra, Haden has consecrated such heroism into the history of jazz music and into the veins of creativity for "Liberation Music Orchestra" is not just another jazz record.
Doom/sludge/drone. It's on Art As Catharsis: that should be enough to convince you. Excellent stuff.
20 Buck Spin is a predominantly metal-oriented label housing excellent artists such as funeral doom pioneer Mournful Congregation, Monarch, Brainoil and others. So big names in the underground metal scene. Each album is $6.66 and CDs are usually no more than $10. Check these artists out.
I'll start by pointing out that "dark cabaret" is a subgenre you would be a fool to try and take seriously; almost as foolish as trying to call Andrew Jackson Jihad pretentious. Dark Cabaret is essentially a mix of old time, cabaret pop, punk, manouche jazz, and klezmer. There are often crossovers with "death rock". It's fun, groovy, cheesy, and fun. I often find myself comparing most artists in this genre to Reverend Glasseye and Tom Wait's Blood Money - the best artists/albums which I've found in the scene - and these guys are certainly no exception. While it's got the elements of the swing in there the overall styling is much poppier. It's what I'd describe as an entry point or the sort. It's got all the instrumentation and the right technique but there is nothing to separate ...Egress from the rest of the scene and it's all a bit homogenous. It's got the cheese and the gimmick but unlike people like Reverend Glasseye and The Deadfly Ensemble they have little to support the music. Their cover of Show Me The Way To Go Home is pretty nice mind you.
I seem to be getting a lot of emails recently. And when I saw "Haswell" I thought I got an email from Russel Haswell: a totally different artist. Asteroids is Richard Haswell's latest album, and a sort of blend of droning space rock, shoegaze, and some sort of electronic pop. Somewhat reminiscent of something like The Big Pink and Wild Nothing's Golden Haze, particularly in the vocals: smooth, emotive, and very capturing. However, the influences are very openly displayed; some elements unsubtle and sometimes downright irritating - the fourth track's unapologetic beat is somewhere between iffy and awful depending on the section in the song - but filled with little intricacies here and there. And exceptionally well done vocals keep my ears smiling if such a thing can be imagined. However, what I keep coming back to is the beats. Hearing The Water Poet, the guitar is alright but the accented beat is aggravating and sounds like a child with a dry mouth spitting, and this also happens in the fourth track. Too treble-y and far too distracting. And when the rest of the mix drops, I really notice the terrible sound they have. Saying that, in the following song it gets pretty groovy and the drums sound just right, though it is a slight departure from the usual sound. Not a bad one, though. Overall the mixing is pretty good bar the beats and the ambiance brought up among a rather smooth bass tone and the aforementioned generic-but-so-smooth-it's-ear-caramel vocals make it a pleasant listen somewhere between somewhat derivative dream-pop stylings and the odd surprise of something a little different like Routinely Armed where it's like the aforementioned but with Pompeya in the mix. Ultimately this is poppy, and if you spend most of your time finding a hook difficult to handle, you might not like this, but if you want digestible poppy music with the odd surprise, this might make you smile. It's smile-core. But not as in the Boris album. Or a poppy new subgenre of hardcore. Certainly something worth revisiting for when you want something fun and ideal for a summer's day.