7th Level Music

Just in time for Holy Week, Eve Maret releases “Gethesmani.”

Eve Maret (sounds like “muh-ray”) is a Nashville-based experimental artist and composer who employs a wide array of electronic media and techniques in her various disciplines, exploring the possibilities of personal and communal healing through creative action.

Over twelve tracks, her upcoming album Diamond Cutter is an exploration of the space where strength meets vulnerability. The title comes from an ancient Buddhist text of the same name, and it’s out April 17th.

Drawing inspiration from nineteenth-century orchestral and choral works, the Fluxus movement, Kosmische Musik and funk, Eve makes use of digital and modular synthesizers, a vocoder, clarinet, electric bass, guitar, and field recordings to create works that range from lush cinematic compositions to space disco. Eve’s music practice is a conversation with her numerous curiosities, manifested in the form of video art, drawing, dance, ritual, and cymatics.

Today, Eve shares the single, “Gethsemani.” The song came to her in a dream while she was visiting a monastery, and she later actualized the music she heard in her head. Named after the biblical garden, the track is inspired by Eve’s Catholic upbringing, a part of her past that she admits is complicated and racked with guilt. Fast forward to today and Eve had a bit of a viral moment on her Instagram page recently, where a clip in which she was dressed as a nun during a recent live set resulted in one of her widest audiences yet on the platform.

On the new single, Eve shares: “Growing up Catholic was…complicated. It was a decision that was made for me, and it’s all that I knew. I was taught that from the moment I was born, I was sinful. Not only that, but with a name like Eve, I truly felt responsible for anything bad that happened around me.

“Dressing up like a nun and playing music felt like a random idea at first, but in retrospect, my life has been building towards this culmination point for years. I’m re-contextualizing my wounds to empower myself. I’m taking the parts of Catholicism I appreciate and re-appropriating them. I am devoted to music, to knowing myself, and to having fun in the process.”

Check out the new video and single via YouTube, pre-order the album here, and see below for upcoming live dates in Knoxville and Memphis.

Eve’s music has been featured on Echoes Radio and Iggy Pop’s BBC radio show Iggy Confidential. “Synthesizer Hearts,” off of Eve’s 2020 release, Stars Aligned, appeared on BBC Radio 6 Music’s B-List in December 2020 and premiered on Mary Anne Hobbs’ BBC Radio show “Music From The Near Future.”

In 2021, Eve contributed to Moebius Strips, an audio installation and companion album honoring the work of electronic music pioneer Dieter Moebius. Other contributors include Geoff Barrow (Portishead, Beak), Sarah Davachi, Jean-Benoît Dunckel (Air), Mark Mothersbaugh (Devo), Phew, Hans-Joachim Roedelius (Cluster, Harmonia), Michael Rother (Harmonia, NEU!) and Yuri Suzuki. She has been praised by the likes of WIRE Magazine, Chicago Tribune, DJ Mag, Bandcamp, and more.

In 2022 and 2023, Eve and her collaborators Dream Chambers and Belly Full Of Stars composed a live-score for FW Murnau’s 1922 film, Nosferatu, which they performed in theatres across the United States. Collaborating is an important aspect of Eve’s creative path, and she has an on-going dance music project called GLAZIER with her partner Scott Glazier, as well as a synth-rock duo, Eardrummer, with longtime friend Adrienne Franke. Eve has performed across the United States and internationally, alongside artists such as William Tyler, Guerilla Toss, MATMOS, JEFF the Brotherhood, and Lydia Lunch.

In addition to her personal creative practices, Eve is committed to providing avenues for others to create and uplift one another. In 2018, She, Jess Chambers, Deli Paloma-Sisk, and Arlene Sparacia founded Hyasynth House, an electronic music collective and education center for female and LGBTQIA+ artists. Together they facilitated workshops, performances, and community-wide conversations in an effort to support and empower marginalized groups.

The founders went their separate ways in 2019, but Eve continues to lead electronic music workshops and to organize live music events in Nashville and beyond, including her work co-producing Nashville Drone, a 6-hour music experience featuring 13 regional artists across genres, in an effort to create an immersive space for the community to connect and recharge.

Eve Maret Live Dates

April 18 – Knoxville, TN – the Pilot Light

May 30 – Memphis, TN – Memphis Concrète

Las Cruxes’ new single is stone “Frio.”

Beneath the rollicking exterior of Yayo Trujillo’s Las Cruxes lies a tender heart. His Omaha-based solo project-turned-collective will release its third full-length, Las Cruxes, out April 24 via Conor Oberst’s Million Stars label. Today, Trujillo shares the single “Frio,” which explores the necessity of sadness atop distorted fretwork and a chugging beat. Spanish-language lyrics probe the desire to scream until nothing comes out while hoping you said the right things. It is cathartic and human.

On the track, Las Cruxes’ Yayo Trujillo shares: “‘Lo sé, lo sé, que nunca seré feliz, te prometo, siento que me muero,’ is how I feel every single day. The dreadful feeling of putting on a smile for the person you love. The mirror doesn’t talk back.
We need sadness in our lives.”

As a native of Los Angeles, music guides Yayo Trujillo. “It all started hanging out with my older brother, who used to play traditional boleros to serenade his girlfriend,” he recalls. “I was lucky enough to tag along.” With a notable following in Mexico and Latin America, his Las Cruxes project has evolved in moves between Mexico City, San Francisco, and Omaha. He also spent years in Pastilla, a Latin rock institution on Aztlan Records and BMG.

As a Nebraska-based artist, it seems inevitable that Trujillo would encounter hometown hero Conor Oberst. After gigging at his bar, Pageturners Lounge, he signed a deal with Million Stars — the label now issuing Las Cruxes’ self-titled third full-length. The album embraces straightforwardness, favoring live performances captured on classic consoles with vintage microphones. The sessions were led by Bright Eyes affiliates Taylor Hollingsworth (Conor Oberst and the Mystic Valley Band) and Adam Roberts at ARC Studios. It bears traces of new wave, shoegaze, and lofi experimentation.

Across 12 cuts, Spanish vocals crest over fuzzy melodies and pounding grooves. “The writing process was the same as everything else — very ‘let’s do this,’” Trujillo reflects. “No thought to it — just very natural, free flowing.” Opener “El último” unfolds with a driving bassline that escalates in a raucous chorus. “No creo que pueda olvidarte / No creo / No creo,” Trujillo repeats atop rickety fretwork. On “Déjà vu,” searing riffs interrupt brooding verses. Closer “By Frank” is the only English language piece, propelled by shakers and woozy organs. “I know it’s a lie they’ll never really tell you / I know it’s lust / I’ll never really tell you,” he proclaims in the refrain. Las Cruxes weaves macabre insistence with themes of mental collapse and romance.

Las Cruxes doubles as a solo practice and fluid collective, both on record and live. “I write everything, but I do it thinking about who is in the band at that moment — who’s wearing the Las Cruxes suit that week,” Trujillo muses. This time around, he tracked the majority of the instruments himself, though a handful of peers were invited to contribute. In addition to a cast of Omaha locals, Californian Ellie English (L.A. Witch) appears on drums. Jeffrey Davies (The Brian Jonestown Massacre) and Jorge Vilchis (La Gusana Ciega) were tapped for guitar. The record channels simplicity at its finest.

Keep your mind open.

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[Thanks to Andi at Terrorbird Media.]

Review: Stuck – Optimizer

Chicago’s Stuck approached their new album, Optimizer, with the sense that they and the world at large are in the passenger seat of an out of control car. Things are spinning out of control, racing toward disaster, and we’re all trying to optimize our social media profiles, bodies, hobbies, food, and minds.

“It’s hard to know what you want, and to know it is worse,” says lead singer / guitarist Greg Obis at the beginning of Optimizer‘s opening track, “Totally Vexed.” He’s unsure what to do about not only his life, but things in general, just like the rest of us (“Take a look around. Everybody’s down.” / “You don’t know what you want.”). The song bristles with post-punk nervousness and Tim Green‘s pulse-slightly pounding-in-your-temples beats. “Instakill” is a song about fitness influencers and the weird world of fitness culture. It sound like some of Devo‘s earlier, punkier tracks with its strange, popping synths, David Algrim‘s robot bass lines, the slightly tortured guitar riffs, and the lyrics poking fun at people striving to be like everyone else.

“Sicko” is about subjecting ourselves to the relentless grind of not only work, but also maintaining social media profiles and projecting fictionalized best versions of ourselves. Algrim’s bass hits hard on “Deadlift,” another track about body image and our troubling relationships with it. “Less Is More” roars with punk fury. “Fire, Man” smirks at the emptiness of a lot of rock music nowadays.

“Net Negative” brings early Wavves tracks to mind with its catchy guitar hooks and snarled vocals like “I think that it’s funny connection’s tearing us apart.” “It Isn’t” is a stark look at how we’re being deceived every day, either by people, algorithms, or media (social and otherwise). “Punchline” has Stuck (and the rest of us) looking for some kind of, any kind of meaning to all of this chaos around us. It’s the track that reminds me most of Gang of Four (“You know something I don’t. A universal truth. I’m not in on the joke.”) through its solid bass and straight-to-the-gut lyrics.

The album closes with “GG.” No, it’s not a reference to G.G. Allin. “On a pitch black road, don’t know where it goes,” Obis sings on it. We’re back to the out-of-control car metaphor and how Obis feels like he’s holding on for dear life as he grieves over how a loved one has changed and seems intent on plunging them both to their doom.

Or maybe Stuck feel like most of the country has changed and is content to drive us all off a cliff rather than admit they’re afraid, or wrong, or rather afraid of being wrong. We’re all tempted and told to optimize our lives, produce more, consume more, and ignore the billionaire boots grinding us all.

Optimizer fades out with the same distortion that fades in the record. It’s a loop, spinning and spinning until we decide to take action and give it a rest — just like the traps we’re falling into every day. Stuck have held up the mirror. We have to accept what we see in it. Acceptance can lead to action, and that is optimizing.

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[Thanks to Jacob at Pitch Perfect PR.]

The Shits “Thank You for Being a Friend” with their new single.

What’s the point of the howl of string to speaker, the hammering of stick-on skin? Is it transcendence, elevating the human spirit by catharsis in sound? Or is it summoning chaos, a purgatory in which to bask in all that’s unclean, the better to feel alive?

Why not both? Because that’s what’s on offer on Diet Of Worms, the second Rocket release by The Shits, Leeds via Newcastle’s titans of disgust and deliverance. This is a feast for the senses in the worst way possible – primal rock boiled down to its essence and flung full in your face. Using repetition, tortured vocal invective and heads-down intensity as blunt instruments, these eight tracks are an unprecedented torrent of acidic salvation. Whilst lurking somewhere on the decadence-destruction axis between the nihilism of prime Stooges and the bloody blackout of Brainbombs, Diet Of Worms is possessed of a legitimately uncompromising hostility that both elevates and debases it to co-ordinates unknown. Discussing today’s drop of the new single, ‘Thank You For Being A Friend‘, the vocalist of The Shits, Callum Howe notices: “The Shits are driving down the sleazy streets of West Yorkshire. Nothing to do, nowhere to go. You can’t stop us, we do this cos we love it.”

There are revelations here in the riffage and the rancour, even if they are the kind that occur in the bleary miasma of the lock-in, or witnessing the streetlight blur of the subsequent stagger home. Even more single-minded and remorseless than the band’s Rocket debut ‘You’re A Mess’, this is a record that demands full immersion. Whether it’s ‘Then You’re Dead’ hammering on a pulverizing garage-stinking riff until it begs for mercy, or ‘Change My Ways’, whose Creedence-In-Hell swagger and lurch is that of abjection transmuted into joy, this is psychedelia forcibly removed from its comfort zone of pastiche, and thrust into a bad-trip realm of the vivid and nightmarish.

But rarely has the process of making beauty and horror indivisible seemed like so much fun. If Werner Herzog was right, and the only harmony in the universe is that of overwhelming and collective murder, then The Shits are the true music of the spheres.

Pre-order Diet of Worms coming out April 3: Digital via Bandcamp here. And LP directly from Rocket Recordings here.

Keep your mind open.

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[Thanks to Dan at Discipline PR.]

Review: Various artists – When There Is No Sun

Here’s a cool idea: Get a bunch of electronic music producers and DJs in the same room with some cool guest vocalists and tell them to put their spins on the music of Sun Ra. What do you get? This cool compilation called When There Is No Sun.

Starting with Underground Resistance‘s funky, bumpy take on “When Angels Speak,” the addition of vocals by poet / musician / filmmaker Saul Williams drops you into the groove right away. “When angels speak, they speak of cosmic waves of sound,” Williams says, and you know he’s right. SHE Spells Doom joins up with the Sun Ra Arkestra for a remix of “Somebody Else’s Idea.” The muted, looped horn section provides an interesting groove that seems to cast a long look around the room and invite people into another party at the back.

House music heavyweight Chez Damier teams up with Ben Vedren and poet Anthony Joseph on the “H2H Kora mix” of “The Three Dimensions of Air.” The looping hand percussion beats, bouncing synth notes, and distant trumpet sounds create a hypnotic effect when they combine with Joseph’s vocals. Calibre creates a drum and bass (his specialty) remix of “Chopin.”

Ricardo Villalobos “Earlier Than Late” remix (version 2) of “I Have Forgotten” is a mesmerizing track with odd sounds that resemble something you’d hear in a haunted house movie score if the house had a rave happening in the cemetery next door. Tunde Adebimpe joins Damier and Vedren on the H2H remix of “The Endless Realm.” It’s instantly danceable, as well as enlightening. It’s a house music Zen lesson on the joy of non-attachment.

Underground Resistance and Williams return for their soulful take on “The Outer Darkness.” The first version of Villalobo’s “Earlier Than Late” remix of “I Have Forgotten” bubbles and pops like some kind of sentient ooze. Baris K and poet Abiodun Oyewole‘s riff on “Somebody Else’s Idea” is a house / trip hop / psych-dance track that has a sweet beat throughout the whole thing.

A Guy Called Gerald and poet Mahogany L. Browne‘s version of “Message to Black Youth” is simple and profound, as is Calibre’s ambient remix of “Chopin.” The album ends with the return of SHE Spells Doom’s remix of “Portrait of the Living Sky. It’s a cool house track, with emphasis on the “cool” part. It gives off this feeling of partying outside the dance club with all the cooler people who got rejected at the door.

This is a slick compilation that you can play at your house party, your chill room, or in your car late nights. You’ll want to hear it everywhere.

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[Thanks to Sam at Pitch Perfect PR.]

JWords’ new single is, indeed, “LUSH.”

JWords —the project of Brooklyn-based producer Jennifer Hernandez—announces her new album, Sound Therapy, out May 8th and presents the lead single, “LUSH.” JWords is known for her production “nodding to both hip-hop’s brawny metronome and more uptempo electronic and dance influences” (Bandcamp). Her career is defined by collaborations, from her work with rapper maassai as the acclaimed duo H31R to her production on Nappy Nina’s 2021 record Double Down. Meanwhile, JWords has built a stylistically broad body of solo work, starting in 2020 with mixtape Sin Señal followed by a string of EPs that climaxed with Sonic Liberation. In the interim, she’s made major strides as a DJ, scoring a monthly residency at The Lot Radio and regularly hosting NTS shows.

Sound Therapy, the follow-up to her 2022 debut solo LP Self-Connection, deals with the troubles and triumphs JWords experienced over the last few years. It gets heavy at times, but the music she’s making now reflects her present circumstances. Instead of building a rollercoaster record based on the traumas of yesteryear, she opted for a confidently Zen approach: “It’s a new era,” she says. “A calmer, chiller, ‘Yeah, I got my shit together’ kind of era.”

Despite the fact that she began as an MC, Sound Therapy marks the first time JWords has been a lead vocalist on her own productions. On today’s single “Lush,” she repeats the phrases “I see me in you” and “I see you in me” over pillowy synths and a crinkly techno backbeat until her words become a mantra.

Listen to “LUSH” by JWords

Growing up Dominican-American in Union City, New Jersey, JWords was a sonic omnivore, devouring the hip-hop and R&B she heard on BET’s Rap City, the Jersey Club that took over the neighborhood, and the Latin music she heard at home. JWords’ music career has been ascendant since she first laid hands on a synth, but her personal life has been less steady, and she fell into a particularly deep rut in her late 20s. Sound Therapy looks back on those years with a sense of tranquility that’s absent in her earlier work. Her subject matter is still serious, but she addresses her trauma without fear or malice, acknowledging that it’s there without giving it the power to define her.

While Sound Therapy marks the first time JWords has been a lead vocalist, it’s her production that shines brightest. Opener “Lotus” contains the type of sparkling synthplay one might expect to find stowed away on a lost Dilla hard drive. “FELT” pummels you with a techno drum line but slowly morphs into a much chiller arrangement of synths. And “LoveCrime” presents an entrancing, oddly shaped structure that JWords somehow finds a way to rap over.

In the end, JWords is grateful for all of the experiences that have brought her to the present moment. She’s seen rock bottom now and never wants to return, but she learned some of life’s most essential lessons there. These days, she’s enjoying her hard-won serenity. She’s got a job teaching kids how to DJ and make electronic music. She’s learned to solder and has plans to create her own style of synth. She’s making her best music, transcending nominal genre boundaries in pursuit of brilliance. She’s calmer. She’s chiller. She’s got her shit together.

Pre-Order Sound Therapy

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[Thanks to Ahmad at Pitch Perfect PR.]

Review: Carbon Decoy – Crush the Sun

I’m intrigued with Carbon Decoy‘s name. It’s a play on “carbon decay,” the process used for carbon dating, and the skull on the cover of their new album, Crush the Sun, indicates a version of decay, but they chose “decoy.” Their name seems to indicate being a stand-in for the decayed, or for the dead perhaps.

I mean, the heavy doom riffs they play certainly help back this theory. “The Trip” opens the album with a gas pedal-stomper that makes you want to hit the open road, pick up a weird, sexy hitchhiker, fight a band of cultists, and discover a doctor’s bag full of loot at the end of the road. Earl Mudd‘s guitars on “Castle East” sometimes sound like they’re straining to hold back undead hordes attacking said castle, and the agonized wails from drummer / vocalist Casey Rowe amplifying the image.

Jared Jordan‘s bass is spread thick across “Icarus,” and Rowe’s drums reflect the surely panicked, euphoric, and then panicked again heartbeat of the doomed man who flew too close to the sun. The swagger and groove of “Forest of Lies” is outstanding. It’s a swampy, sludgy one amidst the doom, and I’m all for it. “Sirens” goes back into mythological lands (and waters, in this case) as Rowe bemoans that he’s being beckoned by physical and metaphorical monsters. Speaking of monsters, the trio hammers away on “The Wraith,” in which they apparently try to banish such a spirit with the power of crushing riffs and pounding beats. The album ends with “Ghost Town,” this time with Jordan on vocals and the sounds of wind blowing through a spaghetti western that takes place near a haunted coal mine that probably houses some sort of horrible creature of the souls of a hundred trapped miners.

For most of its runtime, Crush the Sun feels heavy enough to do just that. Carbon Decoy’s created one of the best doom albums of the year so far.

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[Thanks to Ksu at Discipline PR.]

Review: The Fake Friends – Let’s Not Overthink This

The Fake Friends‘ new album, Let’s Not Overthink This, starts off with the cry of “No truce!” on “Ministry of Peace.” They’re coming to shake things up, kick down walls, and slap you out of it.

Matthew Savage sings / shouts through the opening track, calling out everyone addicted to constant stimulation (“You got your hand glued to a screen hoping that’ll give you meaning.”) as Felix Crawford-Legault and Luca Santilli‘s guitars roar all over the place. “Sucker Born Every Minute” echoes Franz Ferdinand and Kaiser Chiefs-style rock with it’s hooky chorus, Bradley Cooper-Graham‘s bright, almost go-go synths, and Savage’s “shout them with us!” lyrics about people who can’t get out of their own damn way.

“The Way She Goes” seems to be about co-dependency, and the frantic, angular guitar chords reflect the fractured patterns in such a relationship (“You want it, I need it. I got it, you want it.”). “Control” follows this theme (“Don’t look so defeated. You only said what you mean. Too tired to keep fighting, it’s tearing us at the seams.”).

“Five Star Review” is a quirky, funny, possibly fictional tale of the history / takedown of the band told by friends and crew. “Living the Dream” is a rousing track, with great call-and-response vocals and heavy drumming from Michael Tomizzi. “Backstreet’s Back Pt. II” has this nervous tension to it that gets under your skin.

“HyperConnection” has Savage looking for something, anything, in common with a potential lover but “Your favorite books are way too long.” and “I’ll never get what you said to me. I can’t speak in astrology. What the fuck is a Capricorn?” Answer: “It’s a horse. It’s a horse!” On “If It Happens,” Savage admits that he’s doing the hard work to repair a relationship even though he knows it’s fruitless (“You know it won’t matter how much I do. It’s all in my head.”).

“Dance on My Grave” has perhaps Michael Kamps‘ funkiest bass groove on the entire record. It carries the whole song and will get you dancing, on graves or atop other things (tables, bars, desks, crosswalks, car hoods, etc.). The album ends with the simple, brutally funny “Good Friends,” in which the whole band sings about “friends” who are so miserable it’s exhausting (“I forget just how happy I can be when you’re not around.”). You have to wonder if the intended recipient of the song got the message.

The album’s title refers to not only the band’s creative process but also hides a Zen lesson. Alan Watts said, “A person who thinks all the time has nothing to think about except thoughts.” We often get stuck in our own heads, and The Fake Friends are here to snap us out of it by whacking us with the Zen stick that is this record.

Keep your mind open.

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[Thanks to Chad at No Rules PR!]

Review: L’Ira Del Baccano – The Praise of Folly

You know you’re in for an interesting experience with an album when looking at the cover makes you think, “Wait…Am I high?”

L’Ira Del Baccano‘s The Praise of Folly combines prog, stoner, desert, doom, psych, and whatever the hell is going on with the chicken woman, wasp-man, and nightmarish elephant-praying mantis hybrid playing instruments on the cover.

Part one of the title track instantly reminded me of Rush if they leaned heavier into their harder material. It’s a nearly thirteen-minute journey into cosmic realms that defy any kind of description. The guitars alternately soar and roar at the right times, and the drums are like guiding spirits through a strange land. It crawls / oozes into doom metal by the end and then shifts into desert rock for part two of the title track.

The weird synths of “Stigma”, and the chugging horror film guitars, remind me of Goblin tracks from the early 1980s. About halfway through the song, it becomes a grooving, rocking psych-rock track with tight drumming and a slick bass line.

The closing track, “Rosencrantz and Guildenstern Are Dead,” hits hard and wild at first and then turns into something you might hear ahead of Galactus’ approach to your planet.

L’Ira Del Baccano have said that they didn’t tweak The Praise of Folly much. They wanted it to draw in the listener and be as much like a live performance as possible. A good amount of it is improvised, which is damn impressive when you hear it. The album is an immersive experience that leaves you feeling like the album cover looks – weird, expanded, and spacey.

Keep your mind open.

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[Thanks to Angie and NRV Promotion.]

Review: Sisters of Your Sunshine Vapor – Live in Europe 2025

Recorded during an extensive European tour in which they opened for The Dandy Warhols, Live in Europe 2025 by Sisters of Your Sunshine Vapor is an excellent introduction to SOYSV’s live sound if you’ve never heard it. They continue to expand and reshape their psych-rock with every record and remain one of the best psych bands you’re, for some reason, still missing.

Starting with “Sweet Girl Insanity,” the album begins with droning synths and reverbed vocals that go on for over four minutes before unleashing a barrage of fuzzy sound at you – setting the trippy, roaring, and slightly spooky tone that will creep through the whole record. Sean Morrow‘s guitar on “Die Die Die” seems broadcast from another planet. The horror movie grindhouse grit of “Suck Upon the Living” is palpable in this live version.

“See You in the Mourning” is always sad and haunting, and the live version here at first drifts like incense smoke lit in memory of the band’s friend who’s the subject of the song. It bursts open like sunlight through a cloud around the two-minute mark, with Rick Sawoscinksi‘s beats creating a hypnotic groove for the rest of the track.

“Walk of Sobriety” starts the second half of the album, and it’s a wild ride. Eric Oppitz stirs up an anxious energy with his synth tones at the start before he and his bandmates kick in with a tight groove and Morrow sings for the back of the venue. The bright sound of “Crystal Cup” brings to mind 1970s soul jams and psych-era Motown sounds. Oppitz’s bass on “Night Crawler” is slick, again reminding me of soul grooves.

The album ends with one of their classics, “Black Mind,” which is always a heavy, wild, chaotic freak-out. This one is made even wilder with the inclusion / short cover of The Stooges “I Wanna Be Your Dog” and a bit of “She’s a Pariah” in it.

I’m glad SOYSV put this out there. We’ve needed a live album from them for a while, and I hope this isn’t the last one.

Keep your mind open.

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