Paint it Clear (2021)
Over the past 4 years, Alien Nosejob has proved to be one of the most dynamic artists across Australia’s expansive DIY punk scene. After exploring two very different sides of the genre last year, the one man band returns with a focus in synth-driven power-pop. Paint it Clear is both a shift and evolution for Alien Nosejob, proving that the multi instrumentalist has a reach that continues to extend far beyond one style.
Coto and the Plagues (2021)
Los Angeles trio, Coto and the Plagues, initially united around a passion for lo-fi horror films. While the band’s eleven track debut rarely makes direct reference to any element of cinematic history, their music parallels the dark mood of horror culture’s massive timeline. Coto and the Plagues recalls the peak of goth rock and new-wave as though it were straight out of a 1980’s slasher film.
Hidemi (2021)
Jazz saxophonist, Patrick Shiroishi, has created a career exploring the history of Asian-American oppression. On his latest album, Hidemi, Shiroishi delivers one of his most personal albums to date, with a focus on his grandparents and their time spent in a Japanese internment camp circa World War II. Hidemi incorporates the healing power of spiritual jazz as Shiroishi travels through his family’s resilient history.
Antiphonals (2021)
Los Angeles-based Sarah Davachi has an academic background in musicology. On her latest album, the minimalist composer applies different periods of classical to her recording technique, specifically mirroring the acoustics of large spaces ] to maximize the depth of her sound. Even at it’s most understated moments, Antiphonals is layered with wondrous emotion.
Bianca (2021)
Mike Bones has been a cherished guitarist in New York City’s music scene for years. His band Weak Signal’s second album reinforces this reputation, and includes some of the band’s most well-written work to date. Bianca is a post-punk record that parallels the grit that has controlled his city for decades.
The Heart Pumps Kool-Aid (2021)
As fentanyl-based opiate use tears through middle America, overdoses and death have become everyday occurrences for certain cities and towns. On The Heart Pumps Kool-Aid, experimental composers More Eaze & Seth Graham join forces as —-___—___, and use elements of harsh noise and understated ambient soundscapes to work through the tragedy that accompanies the current drug epidemic.
Stepping into Tomorrow: A Profile on DIY Experimentalists Leah & Blake Saint David
Chicago producer, Composuresquad, has been a leader in the local DIY nightlife scene for years. He is one of the top sought-after DJ’s in city limits, and has hosted many of the most memorable events that have occurred in the past decade. On the latest edition of “The Junkyard,” Composure sets out to interview Leah and Blake Saint David, two members of a versatile rising collective of DIY artists that are on the verge of re-defining experimental music in the 312.
Soup for My Family (2021)
After years of developing a reputation as a powerful live act, LYSOL deliver their first full-length album, Soup for My Family. The Seattle-based punk band tear through eleven tracks on their debut, and even when they shift their stylistic approach, their sound never loses its overall focus. Soup for My Family feels long overdue, but proves LYSOL’S presence in DIY music extends far beyond your local punk house’s basement.
Freaking Out (2011)
Toro Y Moi currently has a working catalog that encompasses as many genres as it does albums. In 2011, he released Underneath the Pine, a record that has since become a highlight to the short-lived sub genre, Chillwave. Even with the success of Underneath the Pine, he delivered Freaking Out before the end of that same year, an ambitious five track follow-up that completely rebranded his sound with unexpectedly positive results.
Head of the Household (2021)
On their new record, Head of the Household, Birthday Ass masterfully intertwine jazz, punk, and noise influences across nine animated tracks. The experimental sextet have found their footing on their second album, combing a deep understanding of music theory with traditional indie rock, making them a strong addition to the ongoing legacy that is New York City’s art-rock scene.