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On 21st December 2025, Swedish post-hardcore stalwarts Refused played their final gig in the group’s hometown of Umeå. A sweaty and teary affair, Refused unleashed a rolling broadside over a brisk 90 minutes, unfurling the entirety of the band’s dedication to weighty and outspoken hardcore in a fierce and conclusive salvo.
As tastefully monochrome images of the band embracing were dragged and dropped onto social pages, you would assume that after thirty-plus years of sonic vitriol the group might sit back for a bit of R&R; a bit of fika maybe? Maybe this would have been the right move considering the sum of their next enterprise: doom metal/free jazz/noise-rock project, Backengrillen.
Comprising Refused’s vocalist Dennis Lyxzén,…

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Brisbane’s Ethan “En” Kernaghan returns with his fourth solo album. Recorded at home, this is a lo-fi affair with a 1960’s feel and more than a hint of Eastern mysticism. The music is instantly joyful, and the collection lives up to its title.
Opening with ‘Don’t Be Scared’, we are straight in with a jangly guitar and a call for people to change their perceptions and not be concerned to show peace and love. Kernaghan’s joyous vocals proclaiming “Just a little loving in your heart could do it / I’m your fan / I’ll swing on your ceiling”, which is one of the many clever and humorous lyrics in the set. Unfortunately, not included, but search for the piano version of this online; it gives the song a whole new perspective, not necessarily better, just very interesting.

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Arriving two years after Women, which found the quasi-instrumental psych rock combo expanding their nostalgic, style-shifting sound with string arrangements and guest vocals, Pur Jus is so named because it gets back to basics.
Inspired by near constant touring, the album was entirely written, performed, recorded (live in the studio), and mixed by the Bergen, Norway-based trio, using only guitars (Øyvind Blomstrøm), bass (Chris Holm), drums and percussion (Kim Åge Furuhaug), keyboards (Blomstrøm and Holm), and the occasional vocals. The results may be less diverse and dramatic than their predecessors by comparison, but grooves and chill-out feels are still in plentiful supply.
The album kicks things off with a drum fill…

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Working with some musical legends and renowned musicians (often both) can be a blessing and a curse. On one hand, you not only gain specific experience, but it means you have capabilities and are doing something right. On the other hand, when you have to go on your own and present your individually conceived music, it might be a burden if you are not able to come up with something that is at least above average.
That could have possibly been a burden for L.A. vocalist Holly Palmer, whose long list of artists she has worked with includes David Bowie, Gnarls Barkley, Seal, Michael Buble, Billy Preston and Dr. Dre. So far, Palmer has recorded three solo albums, with Metamorphosis being her fourth.
Whatever Palmer, who is also a vocologist…

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Leo Chadburn’s Sleep in the Shadow of the Alternator is a dream: a deep immersion in another world that is like and unlike our own, described through abandoned landscape, wrecked machines and lost purpose. The dream is here and now, a post-industrial Britain inspired by Chadburn’s East Midlands home town, marked by the closed power stations and coal mines, retreating back to the land and back to the future.
Chadburn is an acclaimed composer who has released several solo albums, including as Simon Bookish. Sleep… is powered by his narration, words murmured into a microphone like the latest of late night radio: the spirit of Chris Morris’ Blue Jam and Delia Derbyshire’s Inventions for Radio. Around his soft, insistent voice, layers of sound…

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Divided by Dusk is a mysterious, otherworldly album that sounds like a folktale and feels like walking into the forest just as the sun is setting, not knowing what wonders may await. Will one encounter enchanting creatures, gypsy caravans, a traveling circus ~ or the simple magic of fox and bear, moonlight and stream?
Inspired by trips to Japan yet informed by her native Poland, Magda Drozd casts her spell with violin, field recordings, electronics and voice, with Japanese flutist Rai Tateishi entering the forest as the sun disappears behind the trees, merging both sonic worlds.
The violin’s opening notes are already reverberant, echoes wafting through the pines, caught in a strange vortex. A hum falls…

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Ghanaian singer Lamisi’s Let Us Clap combines a fierce activist message on women’s rights with thumping production that features traditional Ghanaian folk rhythm and electronics.
Two of Ghana’s biggest music names, Lamisi and Wanlov worked on the project once a week for several months, while the buzz surrounding their collaboration grew louder. No wonder: here was an icon of jazz and pop, and an icon of roots and hip‑hop, coming together to create raw, unapologetic music for a young, engaged audience — music that bridges the gap between West African music fans and music fans everywhere.
Lyrics, for the most part, were written in Kusaal, the mother tongue of Lamisi’s Kusasi ethnic group (Wanlov speaks Twi, the language of…

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The title As Human carries a multitude of meanings. What is it like to be human, or to pass as human? At what juncture might one lose or gain one’s humanity? The Chicago band calls the title track “a meditation on vulnerability and the small triumphs that come with choosing to feel, even when it hurts.” The Color of Cyan paints with a wide swath of moods, plumbing the depths of human experience and exploring its potential heights.
Eduardo Cintron’s striking cover image is available separately on t-shirts and linoleum block prints; the vinyl is offered in red-and-white variants. The rich red hues prompt the listener to imagine lifeblood flowing and spilled, even before the record is spun. (For those who are curious, cyan was incorporated into the cover art…

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It’s all blurring together. Ambient is emo now. Rap sounds like harsh noise. Drum’n’bass is basically bedroom pop. And Ben Bondy, who until now has primarily dealt in disorientingly dubby ambient music, has emerged with something resembling a singer/songwriter album, but not quite. Bondy, a New York/Berlin-based producer who’s made a name as part of the latter’s cozy Kwia collective, has built a sprawling body of work across a number of labels representing the bleary haze of the left-field electronic underground. West Mineral Ltd., 3XL, Motion Ward, Quiet Time — if they deal in grainy, dissociative soundscapes, Bondy has probably released something for them. Across his scattered releases and DJ sets, Bondy’s demonstrated a voracious, shapeshifting…

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Does 50 minutes of heady and chaotic free jazz appeal to you? Good. James McKain, Damon Smith, and Weasel Walter are here to help.
Recorded late last year, …seeing the way the mole tunnels… consists of wailing and screeching sax from McKain, scrapes, harmonics, and percussive strikes on the double bass from Smith, and Walter’s signature punk / prog improv. The trio moves at such a frenetic pace that even the downtempo passages are restless, textural, and full of ideas.
McKain extracts gritty textures and flutters from the lower register saxes, which couples well with Walter’s mix of blast beats, rolls, and fills. Indeed, all three musicians could be thought of as soloing collectively in a fashion that is curiously complementary. Harmonic and melodic…

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Aaron Shaw is one of the “Friends” in Carlos Niño and Friends, and the song titles on the saxophonist and flautist’s new album reflect some the vibey California positivity of that L.A. percussionist’s crew: “The Path to Clarity,” “Echoes of the Heart,” “Jubilant Voyage,” “Inner Compass.” Niño shows up to do his customary rattling, tinkling shaman thing on several tracks, and helped record a chunk of the record. But Shaw goes for something darker and less touchy-feely on his debut as a leader than its New Age trappings would suggest.
And So It Is does have traces of the warm, atmospheric jazz that’s emerged from the West Coast in recent years. Opener “Soul Journey” features Shaw’s gentle bass clarinet, flute, and sax, all floating together in a velvety haze.

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One of many bands to have explored the country’s more perilous frontiers of DIY culture, Brighton-based bass & drum sludge-punk-noise-rock duo Human Leather finally slam their fury down on tape with their long-awaited debut album, Here Comes the Mind, There Goes the Body. An album that underlines the world’s incessant failures, Human Leather don’t mince their words, rightfully pissed off and unafraid to tells us about it.
The tripwire tension between the two-piece assault team of Amée Chanter and Thomas Close is like a calcified ball of bile and rage. Renowned for their intense live shows, so often the sharp-edged ferocity of a band’s live performance is blunted between the studio walls. Not the case here, however, and it’s thanks to…

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Postulate soundtracks a shattered life, mixed and strewn beneath your feet. The album vibrates with menace, as if every track were cut from the same glass that explodes outward in the poem accompanying it. “To your fear, another is added — the fear of windows. / Your transparent, imagined shield has become a weapon of entropy, / tense and ready to kill, / piercing your fragile flesh with a thousand fragments. / Stay away from windows. / Better to move through corridors. / Remember the rule of two walls.” Ujif_notfound transforms this fear into a sonic condition, a landscape where transparency is a lie and safety is an illusion. The record refuses mediation or softening; it is angry, unfiltered, and unapologetic, and it has earned the right to be so. Every sound here is…

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A recording consisting solely of the sound of water droplets? As the practice of field recordings continues to expand and extend in to multiple forms of music, that notion is not as odd as it once might have seemed. But this reissue of Shizukutachi by Japanese sound artist Masaaki Takano confounds categorization. Takano began his career in the 1950s developing sound effects for stage, film and broadcasting and working as a recording engineer at music studios. By the 1970s he moved away from sound effects and began performing using self-made sound instruments and collecting field recordings of natural sounds. These two practices intersect in Shizukutachi, his first release from 1978. The project was inspired by a Japanese garden ornament and sound…

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Luminous, barely breaking the silence with miniscule gradations and returns, a Jacob’s Ladder of chimes ushers in Tyshawn Sorey’s Monochromatic Light (Afterlife), the 2022 piece for piano, percussion, viola and chorus which also serves as DACAMERA’s new label debut.
A DACAMERA co-commission with Houston’s Rothko Chapel and composed in celebration of its 50th anniversary, the piece’s opening gesture reflects and anticipates, conjuring sounds conjured for the chapel’s inauguration while prefiguring its own development and distilling Sorey’s compositional approach.
Pianist, writer and DACAMERA founder Sarah Rothenberg’s liner essay describes the work’s genesis. She, percussionist Steven Schick,…

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After a decade of silence, Chloe Harris returns as Raica with an album that is garnering lavish praise. Chloe’s roots run deep – a veteran stalwart of the US and global electronic scenes – starting out working in record shops, to a wildly successful radio career, leading to establishing herself as one of the most in-demand international DJs. From there her production took-off with support from some of the biggest names in the house/techno world.
…Alongside this she’s also the founder of the seminal Further Records and runs the truly underground store of the same name in Seattle. An endless musical curiosity and open-mindedness runs through Chloe’s psyche, and an important part of this is experimental and…

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Between 2023 and 2024, James Shinra quietly carved out a distinctive sonic path with his Meteorites series — a constellation of digital tracks that injected new energy into the braindance and experimental electronic community. Now, Analogical Force gathers the complete collection into one cohesive release, available both on vinyl and digitally, presenting a dozen tracks — half of them reimagined for 2025 — that shimmer with invention.
The result is an electrifying fusion of intricate rhythm and textured melody, as if transmissions from a parallel electronic universe were compressed into punchy, melodic bursts. These compositions are brisk and bumpy, laced with razor-sharp percussion, elastic breaks, and…

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On November 1, 2024, The Cure released Songs of a Lost World and that same night, they performed the album in full at London’s Troxy for 3,000 fans, while more than a million others tuned in via a free global livestream.
That performance has now been transformed into The Show of a Lost World, a recut, remixed, and remastered concert film that presents all 31 songs from the night across a generous two hours and forty-seven minutes. Directed by Nick Wickham, with a new surround sound mix by Robert Smith, the film upgrades the original broadcast into a cinematic experience that does justice to both the intimacy of the venue and the scale of the band’s legacy.
Beyond the novelty of premiering their first…

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