In the past couple of years, Spanish experimental label Rusia-IDK has released great avant pop for the chronically online: unsettling yet moving beat changes from Ralphie Choo, raucously tender-hearted production by Rusowsky, and some of the most gleefully deranged live visuals in recent memory. With slow songs from the heart and thrashing experiments that deconstruct and glitch flamenco, reggaeton, rap, and breakbeat, the collective has gained a following in Spain’s underground and even rubbed shoulders with its mainstream.
They were bound to drop the bola at some point. Enter MORI, rolling in from stage left. The Madrid-based artist’s doleful piano ballads and lo-fi torch songs were already some of…
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…newly remastered and features six bonus tracks that were previously unreleased or hard to find.
“Hypnagogic” is a word that refers to the unique space between sleeping and dreaming, and it’s not surprising that the term has been used to describe the music of 
The original lineup of LA post-punks 
High in the mountains of West Virginia lies McDowell County. Formerly a hotspot for American coal mining, technological advancements and outsourced labour crept through Appalachia in the mid-twentieth century, leaving communities like McDowell destitute. From 1950 to 2020, the county saw its population fall by over 80%, and by 2015 it had the highest number of drug-related deaths of any county in the United States.
…Peanut is the sixth-ish album by New York-based musician and engineer 
“Oak Parks” is an entropic blues, its sweet, heart-tugging hook corroded by murk and echo, the slash and clamor of guitars paced by a slack-gaited drum machine. Fuzzy, sleepy, faintly dissonant vocals slip and slide over the melody.
Digging up information on lo-fi pop entity 
Kai Slater is obsessed with the past. For those of us who share his interests, that’s working out splendidly. Slater, a 21-year-old Chicago singer-songwriter, first gained renown as a member of Lifeguard, a trio whose noisy, melodic post-punk songs turn ’70s and ’80s classics into rocket fuel. He dresses like a mod dandy and publishes a handmade zine titled for NEU!’s krautrock classic “Hallogallo.” It’s not just that he devours the stylistic palette of the 20th century underground; he’s also keeping the flame for its DIY ethos, gritty and grounded in community.
Even in the most deeply personal narrative records, you can only know so much of an artist’s story by what they choose to tell you. Maybe the picture only adds up to 75% once you’ve had your fun pushing pieces together on the countertop. More likely you only get a curated chunk, the rest safely banked in the artist’s head forever. Maybe they don’t even have it all put together themselves. It’s all fragments, the way memories can be.
Saul Adamczewski, co-founder of Fat White Family and frontman of Insecure Men, endured a harrowing personal collapse in 2024, spending months in a cupboard in Tulse Hill amid severe psychosis and opioid addiction. After calling his mother and undergoing withdrawal, he began rebuilding his life, reconnecting with family and bandmates. This recovery led to 
The post-January 7th period of Ariel’s creative output was possibly just as chaotic as the immediate aftermath of his dropping from Mexican Summer, his Haunted Graffiti bandmates breaking off from him quietly and the subsequent blacklisting from basically every record label and performing venue across the United States. While Ariel is no stranger to outlandish media soundbites and over-dramatic moments, there is clearly a major evolution in his public perception when looking at, for example, the Coachella rage out versus going to a Trump rally with the message that the “election was stolen” and obvious anti-democratic bull***tery contained in that entire ordeal. While I am someone who can separate the art from the artist, a lot of Ariel’s views…
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For their fourth