Today Finom released a live version of their song “Hungry,” the first in a series of live recordings the band will put out ahead of a busy touring schedule stretching into 2025. This will include upcoming headline shows through the US with support from Moontype and Meg Elsier, and a hometown date at Metro in Chicago with Cabeza De Chivo and Mary Williamson.
You never know what is going to happen when you take a freshly cut album and bring it over to the live space. Almost as soon as Finom started performing their new album Not God—released this past May—“Hungry” emerged as the climax of their new show. “Every time we’ve played it it feels like we’re letting steam out from the chaotic blister of the last five years,” write Macie Stewart and Sima Cunningham, founding members of Finom. Since the band has transformed into a quartet (with V.V. Lightbody holding down the bass) Stewart and Cunningham now have the ability to turn back towards each other and flex what was the original impulse for this project 10 years ago–fearlessly freaking out on electric guitar together. Spencer Tweedy’s drumming is driving and constant. He is the keeper of the ceiling, slowly raising them all up and letting it smash right at the perfect moment.
“Hungry (Live)” was recorded in May 2024 at the Sultan Room in Brooklyn and is limited to 150 white lathe-cut vinyls, lovingly handcrafted at Joyful Noise HQ. You can find it on the merch table at the “‘Not God’ tour ’24.”
Not to get all “Gen X is cool” on you, but do you remember when cereal boxes used to include phonograph records in or on the box? Seriously, this was a thing. You could get a flexi-disc record in a box of Count Chocula that featured cereal mascots at the disco or even score a Jackson 5 record from a box of Alpha-Bits.
I don’t know if Oliver Ackermann (vocals, guitar, synths), John Fedowitz (bass, vocals, synths), and Sandra Fedowitz (drums, vocals, synths) were listening to a flexi-disc copy of Bobby Sherman songs found in a box of Honey-Comb when they got the idea for their latest album, Synthesizer, but it reminded me of these flexi-discs because the packaging is a musical instrument.
Yes, you can buy a vinyl copy of the record with a cover that includes dials, wires, and other bits of gear that can be used (with soldering tools and other simple devices) to turn the album cover in to a synthesizer. No joke.
When I heard they’d done this, I first thought, “That is the coolest idea I’ve heard all year,” and then thought, “Yeah, this is perfect for them.”
It’s perfect because APTBS are always pushing the envelope and finding new ways to immerse you in sound. Beyond the wild feat of having an album cover that doubles as a musical instrument, Synthesizer is also a really good record that blasts you into an altered state.
Opening track “Disgust,” for example, blares at you right out of the gate, and Ackermann has said that it’s a half-joke “to turn people off from listening to the record.” Only the daring will venture on after the opening salvo. Only the daring will be rewarded with this track about the pleasure and pitfalls of lust, let alone the rest of the album. The guitars on “Don’t Be Sorry” are like stabs in a giallo film.
The synth bass of “Fear of Transformation” will get the industrial fans to pay attention as Ackermann sings about overcoming fear as it sometimes overwhelms us through the simplest things. Mrs. Fedowitz’s live drums mix well with electronic thumps, creating a near-panic – which is what the trio wanted us to feel all along. The haunting “Join the Crowd” is like a slow slide into a shadowy world that always seems to be on the edge of your vision as Ackermann wonders when people stopped caring about each other (“And is it me? Am I the only one here who even cares? Now I know why. You never had a choice or care.”).
“Bad Idea” has Mr. Fedowitz (whose “bad idea” for something to work on that day in the studio became the sone) considering a reconnection, even though it might cause him to end up flat on his face in the street. Ackermann’s guitar sounds like an angry beetle skittering around in a tin can at one point and like a miter saw in others, while Mr. Fedowitz’s bass line grumbles like a paranoid android.
Romance is a not-so-hidden theme on Synthesizer, and it’s great to hear Ackermann and the Fedowitzs embracing it. “You Got Me” is upbeat and reminds me of some early Cure tracks in that it mixes gothic tones so well with lyrics like “In a world where the universe is crashing down and there’s no hope, I feel ok. You question life, but there’s one thing you’ll never have to ask me. You got me.”
“It’s Too Much” is a fascinating mixed of warped sounds and more lyrics about being overcome with good emotions you haven’t felt in a long while (“I go out, but didn’t know you’d be there, and all this time I thought I was fine, but now I’m high.”). Mr. Fedowitz gives Peter Hook a run for his money on “Plastic Furniture.” I mean, come on, his bass riff on this is insane.
“Have You Ever Been in Love?” is a wild one, with Mrs. Fedowitz crushing her drum kit and adding spooky yet lovely backing vocals and cries throughout it – helping Ackermann express his anguish over a breakup (“Knife in heart. I want to die, seeing you pass me by.”). The closing track, “Comfort Never Comes,” might end up being a new synth-psych classic as it builds with gorgeous notes, Wall of Voodoo-like guitar chords, A Flock of Seagulls-like synth flourishes, and hypnotic rhythms. Ackermann acknowledges his faults in a relationship that’s beyond repair and that he wishes he could amend things (“You and I are in pieces. You could lift me like a stone…You and I are in pieces. I could lift you like a rose.”).
I can’t recommend this album enough to you. I’m sure it’s an absolute sonic wall coming at you on vinyl, but I encourage you to give it a deep headphone / earbud listen. Like any synthesizer played well, it changes the feel of everything around you and within you.
Bonnie Trash (Dana Bellamy – drums, Emmalia Bortolon-Vettor – guitar, Sarafina Bortolon-Vettor – vocals, and Emma Howarth-Withers – bass) are no strangers to heavy subjects. Their debut EP from 2017, Ezzelini’s Dead, told the story of a real-life cannibalistic tyrant. 2022’s Malocchio and 2023’s Hail, Hale! told horror tales often spoken to sisters Emmalia and Sarafina by their grandmother. Now, on their newest EP, My Love Remains the Same, they tackle themes of love and the loss of it.
Howarth-Withers solid bass groove locks in the opener, “Kisses Goodbye,” which has Sarafina Bortolon-Vettor walking away from a relationship she knows isn’t going to last but also is gut-wrenching to end. Her sister’s guitar fuzz reminds me of some Jesus and Mary Chain cuts with its deft flow between almost garage-pop and melt-your-face assault.
“What Have You Become” gets darker, thanks in large part to Bellamy’s heavier beats and lyrics like “Love is not enough to take the pain away.” and others that confront the agony and relentless questions your mind creates during deep grief.
The EP ends with a slick and menacing cover of Nick Cave and The Bad Seeds‘ “Red Right Hand.” They up the metal growl in it and you can feel Sarafina Bortolon-Vettor practically casting a hex upon you as she sings it.
Bonnie Trash is working on a new full-length album due in 2025. Keep your eyes open for it. It might sneak up on you in the shadows.
Today Thailand’s Khana Bierbood announce details of their second album ‘Monolam’, set for release on October 25th via Guruguru Brain. Along with the announcement, they have shared first single and accompanying video “Fi Rak Sanae-ha” – online now.
The music of Khana Bierbood is equal parts revival and revelation. The six-piece band was formed around 2012 in Thailand’s beach side sub-district Bangsaen by university friends who shared a love for the western psychedelic music of the 60’s-70’s. As they began writing songs they found a likeness in their sound and the Thai Funk, rock’n’roll imbued Luk Thung and traditional Lao Molam-inspired music styles of those eras. These are influences that the band says come from their simplistic reduction of generational stories and cultural experiences which envelope a hidden underlying wit. Their music is laced with a kind of Thai pop sensibility that lays the foundation for a truly kaleidoscopic frenzy of authentic fuzz and far east frequencies.
Following the release of their debut LP ‘Strangers From The Far East’ in 2019, in 2023 Go Kurosawa (of Kikagaku Moyo and the band’s label Guruguru Brain) joined the band at TMM studios in Bangkok and together they recorded this, their second studio album, ‘Monolam’ (meaning unique in sound and style).
While the album maintains the infectious rock’n’roll charm of their previous offering, it shows a departure toward an even more sublime and groovy psychedelic sound – a sound that pays homage to their passion for the past and their longing for a new cultural renaissance. Lyrically, the songs speak of the life experiences of the band, combined sometimes with stories from Thai movies and dramas, telling tales of love, loss and adventure.
Today they share the track “Fi Rak Sanae-ha”, meaning “Fire, Love and Enchanted” which they describe as being “a toxic love song”. The track is a funky take on Thai Lae – a mantric, stripped-back style of music used to covey Buddhist scriptures, usually sung by monks.
A Place To Bury Strangers release the new single/video, “Fear Of Transformation,” from their forthcoming album, Synthesizer, to be released digitally October 4th and on vinyl October 25th via Dedstrange. Following lead singles “Disgust,” “You Got Me,” and “Bad Idea,” “Fear Of Transformation” is a snarling, gothic techno-punk track that feels like getting body slammed by a wave out at sea. The track delves into the struggle of overcoming internal barriers. As frontman Oliver Ackermann explains, “Sometimes fear builds up and pins you in a cage. A conversation occurs in my head where I have to convince myself to just fucking do something to break out of it.” “Fear Of Transformation” embodies that internal dialogue, capturing the battle between the compulsion to avoid fear and the push to confront it. The song is a raw, intense conversation with the devil within.
The accompanying video was created by Chad Crawford Kinkle, director of Dementor and Jugface. A teenage boy sneaks out from his parent’s house to go to his first Furry party, but he has a secret. He’s actually a werewolf.
Synthesizer is the title of A Place to Bury Strangers’ seventh album. It is also a physical entity, a synthesizer made specifically for you to own, too, if you buy the record on vinyl. You can watch Ackermann demonstrate how to play the circuit board and functional synth album cover here. In an era of making music where so little is DIY and so much is left up to AI, to never setting foot in a practice room or a home studio, making something that feels deliberately chaotic, messy, and human, is entirely the point. Synthesizer very much feels like a record of reinvention. And of course, to ever so slightly reinvent one’s sound, one must also build a new instrument, thus again the synth in question. The resulting record is one that is romantic, colorful, loud as hell, wild, and fucked up just like the instrument itself.
After a busy summer of playing Glastonbury, Reading and Leeds Festivals, Green Man, End Of The Road, and supporting Amyl and the Sniffers around the US, Lambrini Girls show no signs of slowing down and today share new single ‘Company Culture’ as well as announcing a massive EU/UK tour for next year.
Speaking on the track, the band explain the theme “Tired of working twice as hard while white, middle-aged men get credit for your ideas? Afraid to report harassment? Constantly second-guessing to avoid conflict? If you’ve answered yes: you’re probably a woman or a queer person.”
“If these challenges hold you back, it’s entirely your fault. And if you succeed, you’ll feel like a fraud. No matter how hard you work, you won’t be taken seriously. Your boss wants to shag you, HR thinks you’re hysterical—so maybe just shut the fuck up and smile. Many girls would kill for your position, stop complaining or it’s back to the kitchen. Welcome to the boys’ club.”
Recently releasing singles ‘God’s Country’ and ‘Body Of Mine’, both of which were BBC6 Music Playlisted, the two piece are Phoebe Lunny (Vocals/Guitar – she/they) and Lilly Macieira (Bass – she/they) originally from Brighton.
They’ve made a name for themselves through unforgettable live performances and support from the likes of Variety Magazine, BBC Radio 1, NME, The Line Of Best Fit, KEXP, Consequence, Evening Standard, CLASH, So Young, and covered Kerrang! Magazine alongside Sleater-Kinney, bagged a nomination for Rolling Stone UK’s Rising Stars Award, and even Iggy Pop is a fan.
Lambrini Girls announce live dates for Europe and the UK next year, with tickets on sale now.
Tour Dates
Fri Sep 19 – Reeperbahn Festival, Hamburg – Germany* Thurs Oct 10 – Zinnober Festival, Essen – Germany* Sat Oct 12 – Keroxen – Canary Islands* Sat Oct 19 – SWN Festival – Cardiff* Sat Oct 26 – Croc The Rock, Etagnières – Switzerland* Tue Nov 5 – Mutations Festival – Brighton (DJ Set)* Fri Nov 8 – Iceland Airwaves, Reykjavik – Iceland* Sun Nov 10 – Sonic City, Kortrijk – Belgium*
Fri Nov 29 – Alexandra Palace – London # Sat Nov 30 – Alexandra Palace – London #
Tue Dec 3 – Brooklyn, NY, Union Pool – USA
Tue Feb 25 – Lille, Aeronef – France Wed Feb 26 – Nantes, Stereolux – France Thu Feb 27 – Paris, La Maroquinerie – France Sat Mar 1 – Ravenna, Hana Bi – Italy Mon Mar 3 – Prague, Bike Jesus – Czech Republic Tue Mar 4 – Leipzig, Moritzbastei – Germany Wed Mar 5 – Berlin, Neue Zukunft – Germany Fri Mar 7 – Stockholm, Hus7 – Sweden Sat Mar 8 – Oslo, John Dee – Norway Sun Mar 9 – Goteborg, Pustervik – Sweden Tue Mar 11 – Copenhagen, Ideal Bar – Denmark Wed Mar 12 – Hamburg, Nochtspeicher – Germany Thu Mar 13 – Rotterdam , Rotown – Netherlands Fri Mar 14 – Amsterdam, Melkweg – Netherlands Sat Mar 15 – Eindhoven, Effenaar – Netherlands Mon Mar 17 – Cologne, Bumann & Sohn – Germany Wed Mar 19 – Luxembourg, Rotondes – Luxembourg Thu Mar 20 – Reims, La Cartonnerie – France Fri Mar 21 – Rouen, Le 106 – France
Tue Apr 1 – Bristol, The Fleece – UK Wed Apr 2 – Southampton, Joiners – UK Thu Apr 3 – Birmingham, Hare & Hounds – UK Fri Apr 4 – Birkenhead, Future Yard – UK Sat Apr 5 – Dublin, Whelans – Ireland Mon Apr 7 – York, The Crescent – UK Tue Apr 8 – Leeds, Brudenell – UK Wed Apr 9 – Glasgow, Stereo – UK Thu Apr 10 – Manchester, Gorilla – UK Fri Apr 11 – Nottingham, Bodega – UK Sat Apr 12 – Brighton, Chalk – UK Thu Apr 17 – London, Electric Brixton – UK
Chicago band Friko — vocalist/guitarist Niko Kapetan and drummer Bailey Minzenberger — shares a new video for “Get Numb To It!,” a standout track from their 2024 breakout album Where we’ve been, Where we go from here, out now on ATO Records. Following a summer with performances at Lollapalooza, Newport Folk Festival, and Fuji Rock, spring tours with Water From Your Eyes, WILLIS and Mind’s Eye, Friko begins a North American tour tonight supporting Royel Otis before their first European headline tour in November. The “Get Numb To It!” video, directed by Alec Basse, fittingly includes footage from the band’s recent performances and time on the road.
Where we’ve been, Where we go from here has catapulted Friko into the national spotlight, with glowing reviews from Pitchfork, SPIN, Rolling Stone, Alternative Press, Chicago Sun-Times, Paste, and more, along with placement on several “Best Of 2024” lists including Vulture/New York Magazine, NPR Music, A.V. Club, and Paste, who named “Where We’ve Been” as their #1 song of the year so far. The band has seen radio play on SiriusXMU, WXRT, KUTX, and more, and the album charted in the top 10 on the NACC TOP 200 College Radio chart.
An essential new addition to Chicago’s long lineage of forward-thinking indie rock, Friko transforms every song into a moment of collective catharsis. Known for their high-energy live show, Friko aims to deliver a live experience that’s fantastically disorienting in its emotional arc. Mastered by Heba Kadry (Björk, Big Thief) and engineered by Jack Henry and Scott Tallarida, Where we’ve been, Where we go from here embodies a sonic complexity befitting of a band that names Romantic-era classical music and the more primal edges of art-rock among their inspirations. Friko hopes that their music’s emotional potency might have a galvanizing impact on audiences.
New-York based band A Place To Bury Strangers release their new single/video, “Bad Idea,” from their forthcoming album, Synthesizer, to be released digitally October 4th and on vinyl October 25th via Dedstrange. Following lead single “Disgust,” described as “one hell of a feedback-ridden ride” (Consequence), and the “addictive” (New Noise) single “You Got Me,” “Bad Idea” showcases the raw creativity of bassist John Fedowitz. “He came to the studio with a simple looping drum beat, thinking he didn’t have any good ideas—thus, the song was his ‘bad idea,’” says frontman Oliver Ackermann. “We each penned some lines on paper, and he sang the ones that resonated. After a few instrumental passes, the recording was complete. The result is an innovative track born from spontaneous collaboration and a touch of self-doubt, turned into something uniquely captivating.”
The video director for “Bad Idea,” Nick Kulp says, “While touring with the band doing visuals and lighting since 2022, I’ve been lucky enough to experience the band perform new songs and see the development of Synthesizer. In 2023, they started performing ‘Bad Idea’ and I was immediately hooked. It’s one of those live songs that really just takes you along for the ride and is really fun to do visuals and lights for. As the year went on we started talking about videos and elements for the new album and I was approached to do a video for this song and was immediately happy and grateful. I’ve been filming the band on tour and in their practice studio since December of 2023 and have been taking my Hi8 camera on the road and filming the shows. I tried my best to capture as much of the chaos of seeing the band live that I could — it’s an intense journey!”
Synthesizer is the title of A Place to Bury Strangers’ seventh album. It is also a physical entity, a synthesizer made specifically for you to own, too, if you buy the record on vinyl. You can watch Ackermann demonstrate how to play the circuit board and functional synth album cover here. In an era of making music where so little is DIY and so much is left up to AI, to never setting foot in a practice room or a home studio, making something that feels deliberately chaotic, messy, and human, is entirely the point.
The writing sessions for Synthesizer started in 2022 in the band’s Queens studio, shortly after the release of See Through You. A Place to Bury Strangers re-formed with a new lineup, Oliver Ackermann still at the helm, now featuring friends John and Sandra Fedowitz. Synthesizer very much feels like a record of reinvention. And of course, to ever so slightly reinvent one’s sound, one must also build a new instrument, thus again the synth in question.
The resulting record is one that is romantic, colorful, loud as hell. This is a band that is meant to be witnessed in a live setting, where the songs take on a new energy in the presence of a crowd. Ackermann founded the storied DIY space (and now effects pedal factory) Death By Audio. DBA, as a venue, had a collaborative, creative spirit of chaos and collectivity. That essence appears all over the band’s work, and Synthesizer is a raw collection of songs, wild and loud and fucked up just like the instrument itself.
Following the release of POPtical Illusion earlier this year, John Cale announces the Paris 1919 Deluxe Editionand The Academy in Peril reissue,out November 15th via Domino. Both remastered by Heba Kadry, this is the first artist sanctioned reissue of these beloved records. Paris 1919 includes previously unreleased outtakes and liner notes by Grayson Haver Currin, and features a brand new recording, “Fever Dream 2024: You’re a Ghost,” and The Academy of Peril includes bonus track,“Temper.” Both will be available on CD, vinyl and digitally.
“Revisiting work from the past is a double-edged sword for me. Of course, it’s bound to happen when you’ve been making music for 60 years or so. . . What’s unique about this process with Domino, is their desire to get it right. Not merely re-issue something for the sake of an anniversary or racking up a catalogue favorite – but finding new treasures and highlighting what made it special in the first place. After hearing the test pressings, it occurred to me that the new mastering was a major part of how these works will be presented, rather than simply being preserved. There are moments of clarity and even a laugh or two had by revisiting not only the music, but recalling the sessions (and antics) that made up what became these two recordings. It is my pleasure to share these with you . . . again.” – John Cale, September 2024
John Cale was never very kind to his solo debut, Vintage Violence. Released in early 1970, Cale had been out of The Velvet Underground for less than two years, and had been wanting to prove he could be the songwriter behind which a band could work. “I was masked on Vintage Violence,” he wrote much later. “You’re not really seeing the personality.” Indeed, Cale’s personality as a polyglot seemingly interested in everything emerged more and more on his next two solo albums and only two for Reprise: 1972’s bracing and exploratory classical sojourn, The Academy in Peril, and 1973’s masterclass in anxious but accessible songcraft, Paris1919. By reissuing both records in tandem, Domino—Cale’s home now for a dozen years—affirms the artistic fearlessness Cale then fostered at the edge of 30, when all of music seemed like one inviting playpen.
When Cale arrived in Los Angeles from New York in the early ’70s, he was a pinball in the world; out of The Velvet Underground, out of a marriage with designer Betsey Johnson, no longer a vital piece of a New York scene. He had just kicked heroin, too. In California, he entered a chaotic new relationship, starting his new industry gig, and found his West Coast drug of choice, cocaine. Despite its reputation as Reprise’s first classical album, The Academy in Peril indulges that extreme upper energy, bouncing among ambitious ideas with unguarded zeal. Warner Brothers spent $120,000 on The Academy in Peril, and Cale even enlisted the Royal Philharmonic Orchestra to play on several of its tracks. Still, there is an early punk energy to it all, with a frantic pace of making from idea to execution, where he created his own secret fusion and ignored the strictures of expectation.
The frantic pace of making The Academy in Peril, though, taught Cale an important lesson: take the time you need to make the album you want to hear. And that is precisely what he did on Paris 1919. Arriving at the studio with songs already written, he worked with Little Feat and bassist Wilton Felder at Sunwest Studios in Hollywood, and fully relinquished production duties to English producer Chris Thomas. This remastered and expanded reissue of Paris 1919 is a testament to the progress and the patience that engendered it. In previously unreleased tapes, Cale teases his new chemical habits as he tries to find his way through “Half Past France,” then attempts new vocal arrangements for its beginning in an alternate version. A brilliant “Drone Mix” of “Hanky Panky Nohow,” with Cale’s viola seesawing in hypnotic waves, shows just how much he and Thomas were willing to tinker with these tunes and test the bounds of songcraft. Appended at the end of these extras, “Fever Dream (You’re a Ghost)”—a new Cale composition that perfectly flows out of yet another mix of “Hanky Panky Nohow”—shows that he’s still doing just that into his 80s.
As previously announced, John Cale’s POPtical Illusion tour begins in Europe on February 28th.
John Cale POPtical Illusion Tour Dates Fri. Feb. 28 – Groningen, NL @ De Oosterpoort Sat. Mar. 1 – Maasmechelen, BE @ CC Maasmechelen Mon. Mar. 3 – Paris, FR @ Le Trianon Tue. Mar. 4 – Brussels, BE @ Cirque Royal Thu. Mar. 6– Karlsruhe, DE @ Tollhaus Fri. Mar. 7 – Munich, DE @ Alte Kongresshalle Sun. Mar. 9 – Stuttgart, DE @ Theaterhaus Mon. Mar. 10 – Esch-sur-Alzette, LU @ Rockhal Wed. Mar. 12 – Nurnberg, DE @ Markgrafenhalle Thu. Mar. 13 – Leipzig, DE @ Haus Auensee Fri. Mar. 14 – Berlin, DE @ Columbiahalle Sun. Mar. 16 – Hamburg, DE @ Laeiszhalle Mon. Mar. 17 – Utrecht, NL @ TivoliVredenburg Tue. Mar. 18 – Cologne, DE @ Carlswerk Victoria Thu. Mar. 20 – Nottingham, UK @ Playhouse Fri. Mar. 21 – London, UK @ Royal Festival Hall Sun. Mar. 23 – Birmingham, UK @ Town Hall Mon. Mar. 24 – Glasgow, UK @ Pavilion Tue. Mar. 25 – Newcastle, UK @ New Tyne Theatre Thu. Mar. 27 – Bexhill on Sea, UK @ De La Warr Pavilion Sat. Mar. 29 – Cardiff, UK @ Wales New Theatre Sun. Mar. 30 – Liverpool, UK @ Philharmonic Hall Mon. Mar. 31 – Dublin, IE @ Vicar Street
Keep your mind open.
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[Thanks to Jessica and Patrick at Pitch Perfect PR.]
Blake Fleming, former drummer for The Mars Volta, Dazzling Killmen, and others describes himself as “too punk for jazz and too jazz for punk.” As a result, he started making whatever music he wanted, and putting out The Beat Fantastic. The notes I got on the press release for Fleming’s album said it was “a mesmerizing journey of percussion-driven psych noir.” That’s spot-on because there were many times while listening to this album that I thought it could score a film or the next time I run a Blade Runner role-playing game session.
“First Transmission” comes in with static and feedback, leaving you to wonder what kind of record this is at first. Is it just ambient noise? Industrial anger? Something you’d hear in a haunted factory attraction this time of year? Then “Desert Frame One” appears almost like magic and starts hypnotizing you with weird synths and cauldron beats that might be stirred by “The Girl with the Electric Pants” – who brings punk funk with her.
“Devolution Revolution Evolution” sounds like dwarves beating on anvils with magic hammers to craft a drum kit fit for a wizard. “Desert Frame Two” is a nice set-up for “Get Up” – a wild action sequence of a track that has Fleming crushing his kit. “Time Slip” slips into “Drum Killah,” which layers so many types of percussion that I kept losing count of them.
“Dense Jaki” slows things down a bit and adds a slight Middle Eastern rhythm to the mix. “PaleoCyberKineticism (for the MC5)” might melt your mind with its Throbbing Gristle-level throbbing synth bass, so be careful with it. The hand percussion on “Delancey Stomp” is sharp as a hundred knives, and the closer, “The Shadow Cast” sounds like a lost track from your favorite 1980s horror film.
I love good instrumental rock records, and this one is a great find.
