February 2025 – Page 2 – 7th Level Music

Barker releases first single, “Reframing,” from his new album out April 04, 2025.

Berlin-based producer and DJ Barker (aka Sam Barker) announces Stochastic Drift, his new album out April 4th via Smalltown Supersound, and presents its lead single, “Reframing.” Following 2023’s Unfixed EP and his first full-length release since his 2019 debut album Utility, Stochastic Drift builds on Barker’s singular process to capture life’s chaos and reflect on just how much has changed. If his previous records showcased the artist “using ambient materials to remake techno” (Pitchfork), Stochastic Drift pushes Barker’s approach even further into harmonic chaos and dreamy freeform float.

Utility, the fullest expression of the beatless techno experimentation Barker excavated on his cult classic Debiasing EP, arrived to critical fanfare from The Quietus, DJ Mag, Resident Advisor, and Mixmag (who named it their Album Of The Year). The years since the release of Utility have been marked by intense unpredictability: Barker’s own shifting attitudes towards production, moments of professional transition and, not least, a global pandemic, necessitated somewhat of a reinvention.

Stochastic Drift sees Barker creating tracks with a fresh deftness and appreciation for the unexpected. “I’d been working with an approach that was quite deliberate and goal-oriented before, but I realised this wasn’t so helpful in the context of uncertainty. Being suddenly unemployed and stuck at home for an indefinite amount of time, with one disruption after another, it was like the target kept moving and I didn’t know what to aim at,” Barker reflects. “I noticed this unpredictability starting to creep into what I was making, and tracks were ending up a long way from the intentions they started with. So the challenge for this record was to try to embrace that process, to let go of expectations.” The serotonin-spiking lead single “Reframing,” titled after psychological technique for reinterpreting a situation in a positive way, unfolds like a brittle reimagining of Sasha’s eternal prog trance standard “Xpander” until it begins to drift through uncharted territory.

Listen to Barker’s “Reframing”

Throughout Stochastic Drift, Barker dives deeper into the world of mechanical instrumentation. Barker explains: “My interest in mechanical instruments is not to replace a human performer, but to explore the tool in a different way, maybe dehumanize it a little bit and look for the potential outside of what humans have already perfected.” Addressing anxiety about the influence of automation in music making head on, Barker emphasizes that, regardless of the technology implemented and how this might enable the artist, machines of all sorts, be they robots, synths or instruments, are simply tools. It’s the creative act that remains resolutely human.

“I wanted to explore the link between my internal and external realities, between the chaos of the time and how that was manifesting in my music and ideas,” Barker says of Stochastic Drift. “It’s a transition between lots of shifting realities, describing a process in a window of time that was full of change.” As though finding comfort in unpredictability, the artist pieces together a new sound and in so doing finds a salve for uncertainty.

Pre-order Stochastic Drift

Barker Tour Dates
Sat. Mar. 15 – Dublin, IE @ The Complex (Live)
Sun. Mar. 23 – Berlin, DE @ Berghain Panorama Bar (DJ)
Sat. Apr. 5 – Amsterdam, NL @ Paradiso (Live)
Sun Apr. 13 – Berlin, DE @ Berghain Panorama Bar (Live)
Fri. May 2 – Basel, CH @ Sudhaus Basel (Live)
Thu. June 5 – Barcelona, ES @ Primavera Sound (Live)
Sun. June 29 – Berlin, DE @ Berghain Panorama Bar (DJ)
Sat. July 19 – Berlin, DE @ Berghain Panorama Bar (DJ)
Sun. Sep. 7 – Berlin, DE @ Berghain Panorama Bar (DJ)
Sat. Nov. 1 – Berlin, DE @ Berghain Panorama Bar (DJ)

Keep your mind open.

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[Thanks to Ahmad at Pitch Perfect PR.]

Anika returns with “Hearsay” off her upcoming new album due April 04, 2025.

“Hearsay” video still (directed by Laura Martinova)

Anika — the British-born, Berlin-based musician Annika Henderson — announces her new album, Abyss, out April 4th on Sacred Bones, and shares its lead single / video, “Hearsay.” Abyss was born out of the frustration, anger, and confusion Henderson feels from existing in our contemporary world. Notably heavier than 2021’s Change, the 10-track album is raw, urgent, and fueled by strong emotions. Pulsing with a heavy guitar and rhythm section, Abyss takes Anika on a new sonic journey.

“There’s so much going on in the world, and you have to sit there and watch it through a screen

that you’ve allowed into your home, like a vampire who had been preying at your door, then immediately digest it, have an opinion, and publicly comment on it,” Anika says. “The state of the world just feels like an abyss right now.” With this new album, she wants to create a place where people can feel safe to be themselves, and to unite in their diversity. “Abyss is like a call to action,” she says. “To come and figure it out together.”

The thrashing, driving, lead single and album opener, “Hearsay,” hones in on the extreme divisions between the left and right in contemporary society. Anika sings: “And yesterday’s papers they line my bird cage. / And you’re telling me tales to get your own way. / And you’re making up stories to push your narrative./ And you’re making up tales to be provocative.” In Anika’s words, “This song is about media moguls – about the power of the media, whether social, tv or beyond – we are as much under its spell as we ever were and some nasties are exploiting it for their own gains. Parasites feeding off the blood of the public — PJ Harvey inspired for sure.”

Laura Martinova who directed the accompanying video says it’s “inspired by vampire aesthetics and seeks to connect with the grungy essence of Abyss. We aimed to create a dark yet dynamic and surprising video. My collaboration with contemporary dancers and the use of raw camera movement transcends this imagery, while Zeynep Schilling’s creative direction elevates the video to another level—somewhere between evil and heaven. We worked with stylist Danny Muster and emerging designers to craft a timeless aesthetic.”

Watch the video for “Hearsay”

Abyss was recorded live to tape at the legendary Hansa Studios in Berlin (where the likes of Depeche Mode and David Bowie also recorded) in just a few days. Recording live and with minimal overdubs was an important decision, Anika stresses, in order to capture the raw immediacy of the album. As before, she wrote the songs herself before fleshing them out with Martin Thulin (Exploded View), and then assembled a live band to join the pair in the studio – comprising of Andrea Belfi on drums, Tomas Nochteff on bass (Mueran Humanos) and Lawrence Goodwin (The Pleasure Majenta) on guitar, with studio engineering done by Nanni Johansson and Frida Claeson Johansson. “I always work with people I respect and admire,” Anika says. “It’s very genuine in that way.”

Anika consciously sought to make an album that was inherently physical— one that would take the listener out of their head and back into their body. The physicality of Abyss is emphasized by the androgynous bodies on the album’s cover, that are from a drawing by a teenage friend of Anika’s. This feels especially poignant, as teenage angst also plays a part in the album. “These days it feels like you have to have very catered opinions – like language has gone out the window,” Anika says. “It makes you feel very much like a restricted child again.” With Abyss, Anika was determined to break free from holding back genuine emotions – even if they might seem uncomfortable or too much: “It’s like I’m doing all the things that I never allowed myself to do,” she says. Anika hopes this pure emotion will position the listener to fully immerse themselves in the album. “There needs to be room for people to put themselves in this album, and put their own narratives on it,” she says. “This is a space for you.”

Pre-order Abyss

Anika Tour Dates:
Sun. Apr. 20 – Berlin, DE @ Volksbühne
Thu. Apr. 24 – Cologne, DE @ C/O Pop
Fri. Apr. 25 – Tourcoing, FR @ Le Grand Mix
Sun. Apr. 27 – Brussels, BE @ Ancienne Belgique
Mon. Apr. 28 – London, UK @ Omeara
Tue. Apr. 29 – Bristol, UK @ Strange Brew
Wed. Apr. 30 – Manchester, UK @ YES (Pink Room)
Thu. May 1 – Leeds, UK @ Brudenell Social Club
Fri. May 2 – Belfast, UK @ Cathedral Quarter Arts Festival
Sat. May 3 – Dublin, IE @ Whelans
Mon. May 5 – Brighton, UK @ DUST
Tue. May 6 – Paris, FR @ Gonzai Night @ Petit Bain
Wed. May 7 – Strasbourg, FR @ La Grenze
Thu. May 8 – Düdingen, CH @ Bad Bonn
Fri. May 9 – Zürich, CH @ Bogen F
Sat. May 10 – Frankfurt, DE @ Mousonturm

Keep your mind open.

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[Thanks to Patrick at Pitch Perfect PR.]

Red Fang to celebrate their 20th anniversary with an album chock-full of “Deep Cuts.”

Red Fang kicks off their 20th-anniversary celebrations with the March 14 release of Deep Cuts, an extensive 26-song collection of non-album tracks, covers, and previously unreleased singles.

A preview of the album arrives today with the release of “It’s Always There” (https://orcd.co/redfang-deepcuts), a track from the deluxe version of Whales and Leeches. “I remember really liking the melancholic vibe of ‘It’s Always There,’ but Aaron and I had no vocal ideas coming to mind,” recalls Bryan Giles. “When I lived in San Diego, I became friendly with Pall Jenkins, and was always a fan of Three mile Pilot and The Black Heart Procession, so it was exciting for me to enlist his help bringing the song to life. I think he did a really beautiful job on it!”

Deep Cuts also includes several covers, such as the Wipers’ “Over The Edge,” and Tubeway Army’s “Listen To Sirens,” along with rare Red Fang originals like “Antidote” (from the mobile game, “Red Fang: Headbang!”) and “Wires (demo),” which makes its vinyl debut.

“Perhaps unremarkable to anyone else, it’s fucking amazing to me that we have made it TWENTY YEARS,” Aaron Beam shares. “Before we started jamming in John Sherman’s basement, I’d already been in 40 (maybe more!) bands, none of which lasted more than a year or two. Yet somehow in 2005, for the first time since probably 1987 I found myself without any band to play in. It turned out this was also true of John, David, and Bryan! So it was only natural that we’d start playing together.

All we ever wanted to do was make music that we knew our friends would be stoked to hear at a basement party. Our first show was in David’s basement, and no matter how big the stages were that we ended up playing, we always tried to bring as much of that basement party feeling as we could.

In that regard, this double album feels very much at home. It’s got a sampling of the weird variety of covers that reflect the different shit that inspire us. The computer drum-laden home demo for ‘Wires’ gives a little peek into the process that we pretty rarely but sometimes used for writing (more often than not, all the writing happened in the jam space). There’s of course a generous helping of rare B-sides and bonus tracks that might be hard to find even in today’s digital world. And there’s even a smattering of pretty atypical GarageBand demos that are some of my favorite things to listen to on this record. They could probably never make a regular Red Fang release, but really let you see what is going on in our heads when we’re not banging them!

Please enjoy this record that we are happy to have made for you.”

Deep Cuts is available as a 2xLP set, as well as on CD and digital formats. Pre-orders are available now: https://www.relapse.com/pages/red-fang-deep-cuts.

Keep your mind open.

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[Thanks to Monica at Speakeasy PR.]

Free Range announces new album, “Lost & Found,” and new single, “Hardly.”

Free Range, the project of Chicago-based musician Sofia Jensen (they/them), announces their second album Lost & Found, out March 28th via Mick Music, and unveils its lead single “Hardly.” Lost & Found follows their sharp 2023 debut, Practice, which “confront[ed] and reflect[ed] on youthful confusion and alienation, and the feelings that inspired them” (Chicago Reader). Lost & Found is about the logical next step of trying to feel like an adult. Much of the album stems from the experiences of 21-year-old Jensen, who formed Free Range when they were 15, moving out from their parents’ house and expanding their world in the Chicago music scene. Amid these changes, Jensen experienced feelings common in one’s early twenties but pervasive throughout adulthood: striving for connection even when you’re surrounded by people, and struggling to be emotionally open.

“I have a pretty easy time being honest lyrically and in music, and it feels like such an avenue for me to just express,” Jensen says. “But in my daily life, I’m a pretty private person and have a hard time telling people exactly how I feel…Being truly vulnerable with other people is a lot harder than you think.” Lost & Found is filled with nuanced, mature reflections on how tough forthrightness can be.

Lead single “Hardly” is a full-on overdriven electric guitar barn-burner about what it feels like to really lean on someone, and how that can lead to an uneven and slightly dysfunctional relationship. Jensen sings “I hardly notice when I measure you / against me / but I could tell when you were pulling me through / the darkness in this room / cause all I wanted was just someone to look to / you hardly notice when I glance at you.” It also navigates the role that broken communication plays in a relationship where two people do care about each other, but can’t seem to find themselves on the same page.

Watch the video for “Hardly”

Jensen demoed most of Lost & Found in October 2023 in Silsbee, Texas, where producer Tommy Read, his sister Hannah Read (Lomelda), and Eric Adams (Acre Memos) helped Jensen whittle down 50 songs to a batch of 15. Jensen returned to Texas in January 2024 to record with the full Free Range band: bassist Bailey Minzenberger, drummer Jack Henry, and new member Andy Krull on pedal steel.

Next month, Free Range will support Horsegirl on a North American tour. A full list of dates can be found below and all tickets are on sale now.

Pre-order Lost & Found

Free Range Tour Dates
Fri. Mar. 21 – Philadelphia, PA @ First Unitarian Church %
Sat. Mar. 22 – Washington, DC @ Black Cat %
Sun. Mar. 23 – Raleigh, NC @ Kings %
Mon. Mar. 24 – Richmond, VA @ The Warehouse %
Wed. Mar. 26 – Hamden, CT @ Space Ballroom %
Thu. Mar. 27 – Somerville, MA @ Arts at The Armory %
Fri. Mar. 28 – Woodstock, NY @ Bearsville Theater %
Sat. Mar. 29 – Brooklyn, NY @ Warsaw %

% w/ Horsegirl

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[Thanks to Jaycee at Pitch Perfect PR.]

Rewind Review: Flat Worms – Live in Los Angeles (2022)

I have yet to see Flat Worms live. This seems like a crime to me. They’re a great power trio with darkly humorous lyrics and power you cannot deny. So, Live in Los Angeles (recorded in 2019) will have to do until I can catch them at a somewhat dingy venue that feels like a sweatbox and smells like beer mixed with incense.

“Pearl” starts off the raucous set with Will Ivy‘s guitars sounding like a sped-up hotel fire alarm and his vocals bringing angry post-punk lyrics about keeping up with the Joneses to the crowd. “Motorbike” roars like its namesake and Justin Sullivan‘s chops on the drums turn on a dime at any given moment. The live version of “Into the Iris” slows it down a bit but doesn’t lack in power. It’s almost a sludge rock tune in the first half and then kicks into near-punk fury for the second half. It’s songs like this in which Tim Hellman excels on bass. He can lock down any track at any speed and in seemingly any genre, and he plays like a time bomb is about to off on “Plaster Casts.”

“Condo Colony,” a great takedown of gated communities and HOA madness, absolutely slays on this. It’s impossible to choose which of the three is killing it more. The short-instrumental “Scattered Palms” explodes into the snarky “11816.” The album ends with “Red Hot Sand,” and yes, it’s blistering. Hellman’s bass is frantic, Ivy’s guitar is a race car tearing up a dirt track, and Sullivan’s drums threaten to crack the floor under you.

It’s a great capture of a trio clicking on all fronts and crushing everything around them. If you can’t see them live, this is a worthy alternative.

Keep your mind open.

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Roi Turbo present their new single – “Super Hands.”

Roi Turbo — the new project of South African-born, London-based electronic duo of brothers Benjamin & Conor McCarthy — present their new single, “Super Hands,” out today via Maison Records. In contrast to the ‘80s South African Bubblegum disco-inspired “Bazooka,” released late last year and named a “Song You Need to Know” by Rolling Stone, “Super Hands” is an immersive ‘90s progressive house-inspired track with hypnotic synth riffs and a thick underlying groove. In the band’s words, “‘Super Hands’ is the warehouse industrial side of Roi Turbo with its modular sequencing and hard hitting drum machines. We were keen to experiment and mix warehouse dance with guitars and live percussion. We’ve always loved that progressive ‘90’s sound and had fun trying to make it fit into the Turbo world.”

Listen to “Super Hands”
Roi Turbo was formed in their home city of Cape Town in 2020. Ben came from an electronic background as a producer and DJ, and became a mainstay in the club circuit in and around their hometown. Conor, meanwhile, came from a band background, playing in alt-rock and alt-pop outfits. The two had always wanted to start a dance project together, dating back to when they were in high school. During COVID lockdown, the chance presented itself. The brothers moved back in together and wrote music with no real agenda, just the two of them with time on their hands, having fun writing music that felt the most natural to them. “We were listening to ‘70s and ‘80s African disco and funk records at the time, and the contrast between the synths and raw live elements of these records really inspired us,” say Ben & Conor, who are also quick to note the likes of Larry Levan, William Onyeabor, Air and Pino D’Angiò as musical inspiration. “Over the years we bought as many synths, drums, guitars and microphones as we could get our hands on and would experiment for weeks on end until we got the sound we were going for. This combination of analog gear has now become a staple in the Roi Turbo sound.”

Roi Turbo will perform at Retreat Yourself, a Cape Town festival on February 22nd, and Electric Forest in Rothbury, Michigan next June, with more live dates to come.

Listen to “Bazooka”

Listen to “Dystopia”

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[Thanks to Sam at Pitch Perfect PR.]

Review: Goat (self-titled)

It’s always good news when Goat decides to release a new album, and their self-titled album from October 2024 is full of their characteristic voodoo-psych sound with complex guitars, hand percussion, dual female vocals, and themes of death, rebirth, and how our spirits are never-ending.

The opening track is even called “One More Death.” It’s a song about reincarnation and how death isn’t anything we haven’t already experienced. The drums and percussion on it grab you straight away and you’re encouraged to cast away fear and step forward on the new journey…and, good heavens, when the guitar solo kicks in it almost shoves you into the astral plane.

It wouldn’t be a Goat album without a song with “goat” in the title, and this time it’s “Goatbrain” – a song about, among other things, “vibrations made by love, moments on Earth.” It has this cool rhythm to it that only Goat see able to create. The flute of the instrumental “Fool’s Journey” seems to come to you from the other side of a valley you’ve only seen in meditations.

“Dollar Bill” is a gritty, great takedown of upper crust rich and the illusion of wealth (“Everyone is going mad. Dollar bills inside your head.”). “Zombie” brings in hip hop beats and loops and is an absolute jaw-dropper. You’ll want this booming out of your car windows. If this doesn’t get you dancing, then “Frisco Beaver” certainly will with its themes of giving up worry (“Do what you like.”) and fear (“Don’t be afraid.”). The guitar riffs sizzle across the whole track. “Look and you will find light of the fire,” they say, and you believe them.

“The All Is One” is another guitar-rich meditative track that weaves back and forth from psychedelia to desert rock. The addition of birdsong in it gives you a contented smile when you hear it. The album ends (Or does it?) with “Ouroboros” – a song named after the symbolic snake eating its tail. Dance beats mix with echoing vocals that remind you that “God lives in every part of you.” The bass kicks in and you’re dancing all over the place, happy to know that all is endless and death and rebirth is not to be feared (and don’t miss the epic saxophone solo!).

It’s one of Goat’s best albums, and that’s saying something since they’ve yet to make a bad record. They’re somehow still one of the best kept secrets out there.

Keep your mind open.

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Review: Federico Albanese – Blackbirds and the Sun of October

As producer, pianist, and composer Federico Albanese put it, his new album, Blackbirds and the Sun of October, is “about coming home, and reconnection.” It was recorded in his home region of Monferrato in Italy.

The album is beautiful and combines classical stylings with contemporary music and even electro dance beats at one point. “Into the Sun” is perfect for your morning meditation. It blends so well into “Ulysses” that you might not notice the space between the songs. “A Story Yet to Be Told” is like a gentle breeze bringing you intriguing scents you want to find, and it’s an interesting warm-up to “Bloom,” which could fit into a giallo thriller.

“The Prince and the Emperor” brings in almost sorrowful strings to portray perhaps a tragic tale of the two main characters. “Blackbirds” drops those electro-beats, making you sit up and take extra notice of the track. It’s a neat artistic decision by Albanese. I meditated through “Your Spell” and “Adelasia,” and the tracks produced different reactions. The first was great for slowing down my breathing, and the second lit a fire in me.

“The Libertine” isn’t a party track, and it doesn’t exude lust or sex. It’s a bit heartbreaking, as if the title character is trying to figure out why all the pleasure still doesn’t make them happy. “Song for the Village” is a lovely tribute to Albanese’s hometown.

“Sway” is so subtle that you almost miss it. “Re-Sphere” reorganizes your brain a bit with its haunting strings and chilled, almost ghostly piano. The album ends with “Wallpaper of Dreams” and sends you out like a paper toy boat cast across a fountain.

It’s a fine ambient record, a fine classical record, a fine contemporary record, and a fine tribute to his home.

Keep your mind open.

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[Thanks to George at Terrorbird Media.]

Hieroglyphic Being releases new single, “I’m in a Strange Loop,” ahead of new album due April 18, 2025.

Hieroglyphic Being — one of the many monikers of legendary Chicago musician Jamal Moss — announces his new album Dance Music 4 Bad People, out April 18th via Smalltown Supersound and shares its lead single “I’m in a Strange Loop.” Tapping back into the same cosmic frequencies responsible for the prolific house virtuoso’s most vital work, Dance Music 4 Bad People sees Moss coaxing anthems for those up to no good from out of the ether. With driving drum machine workouts and low-slung synth sexuality, Hieroglyphic Being pays homage to human fallibility, drawing focus on the revolutionary potential of house music and club culture that is so often lost to the chaos of the present.

Moss’s ability to capture fleeting moments of transience provide us insight into the esoteric knowledge hinted at within his music. The lysergic tempo change of today’s single, “I’m in a Strange Loop,” for instance, stretches out its rippling organ to revel in its celestial detail. The track puts on display what Moss calls “synth expressionism” or “rhythmic cubism,” combining layered loops and tempo shifts into an atmospheric, kaleidoscopic, and danceable composition.

Listen to “I’m In A Strange Loop”

As the tongue-in-cheek title suggests, Dance Music 4 Bad People looks to the eternal quality of Moss’ art to throw moral compasses into disarray, speaking truth to the evil energies that have permeated the club industrial complex of today while challenging black and white notions of good and bad that are instrumentalized for the persecution of those at the fringes. For Moss, this is a tension he has observed since he first heard the sound pioneered by Ron Hardy at the legendary Muzic Box, when Chicago house music was born. “Back then, especially during the Reagan era and the police brutality of the so-called crime and crack epidemic, the one thing I noticed in my community was that house music actually helped us escape from all that negative stuff and make everybody in the environment support each other more.”

It’s this loose vitality that Moss understands to be in short supply in the dance music scene today. “Festivals and clubs profess to propagate safe spaces, but you’ve probably seen it firsthand: you look around and a good percent of people in the club are not happy.” Taking aim at the entire ecosystem, from the malaise and malcontentedness of modern audiences to the false solidarity and commodification of minority positions within the commercial entity of dance music, Moss offers up the raw, unrefined power of the tracks collected on Dance Music 4 Bad People as an antidote.

As the American empire crumbles, the Hieroglyphic Being strides forward with a clear vision to broadcast a sage warning. “If you let other people dictate to you how you are supposed to feel about someone else, it goes into a dark space, especially when there’s nothing good you can say about them,” he says. “Get out of your comfort zone and reach out to people so you can learn more about them.” Though the temptation to judge can be irresistible, Moss believes in the primordial power of the Chicago house sound. Rather than condemn some as bad and others as good, Dance Music 4 Bad People helps us all to recognise each other through the smoke and strobe light. The Hieroglyphic Being speaks through the sound with a message of optimism and hope. “Everybody should be loved, adored, respected, no matter the path you take.”

Pre-order Dance Music 4 Bad People

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[Thanks to Sam at Pitch Perfect PR.]

Desire brings you to the dance floor with her new single – “The Judge.”

Desire announces new album Games People Play, an eclectic labyrinth of love, power, & deception where every move counts, out March 21st via Italians Do It Better and today is sharing new single “The Judge” alongside a video directed by Kirill Nong.

Games People Play unfolds like a game of chess—Desire as the queen, fate as the dealer, & love as the ultimate wager. Set against Johnny Jewel’s signature cinematic curtain, the record guides players through a shadowy dance floor where strategy & surrender blur. In this world of passion, the line between predator & prey is razor-thin, & every lover is a contender on heartbreak’s edge. Checkmate is inevitable—but who will make the final move?

“In the age of omnipresent surveillance…Machines track our every move while friends stalk our every groove. Take matters into your own hands…be the judge & jury of your own timeline. Life is too short, so forget the lurkers & love the jerkers. Time is running out & court is now adjourned.” – Desire on “The Judge”

“The Judge” on YouTube:https://www.youtube.com/watch?v=z8n0rBUEejE

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[Thanks to Frankie at Stereo Sanctity.]