Tag: music review

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[MUSIC] “Altered States #01 fuses searing acid-leaning IDM with lush downtempo and blissful electronica…

*“Altered States #01 fuses searing acid-leaning IDM with lush downtempo and blissful electronica, creating a sound world that feels both cinematic and intimate. It’s a deeply engaging listen where rhythmic complexity and textural depth reward repeated plays.

“This is the first of a series of remix EPs. The remixes come from folks I have exclusively met on Threads along with a couple of my own.

First up my remix of Engram, a deceptively calm beginning takes you deep into the acid core of the machine. If chopped breaks coupled with chuntering 303s are your thing then please enjoy responsibly.

Then Twitchy Bones takes Lagrange Point to a beautiful and epic new orbital position somewhere in the Goldilocks zone between progressive electronica heaven and earth.

CommsBreakdown takes control and drives n i g h t s h a d e s into the dark, dark drum and bass night….. leaving the end credits to Darpsyx who blends his own style into a cinematic, downtempo ending to the EP like no other could.

The wonderful thing about having your own music remixed, reinterpreted by others is the massive grin it puts on your face when you hear familiar elements introduced in new ways. Please check out their own Bandcamp offerings below. Thanks peeps.”

https://masefieldlabs.bandcamp.com/album/altered-states-01

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Music

[MUSIC] Maggot Brain (Houston, 1978) – A Soul-Shattering Funk Odyssey by Parliament-Funkadelic

[Live Review] Maggot Brain (Houston, 1978) – A Soul-Shattering Funk Odyssey by Parliament-Funkadelic

There are live performances, and then there are transcendental experiences — and Maggot Brain live in Houston, 1978, delivered by the cosmic collective Parliament-Funkadelic, is firmly in the latter category. Clocking in at over 10 minutes of raw, unfiltered emotion, this performance is not just a concert moment — it’s a spiritual out-of-body trip through the galaxy of funk, soul, and psychedelic rock.

At the heart of it all is Michael Hampton, then only 17 years old, carrying the torch of the late Eddie Hazel with a guitar solo that feels more like a prayer than a performance. His tone is drenched in sorrow, hope, anger, and catharsis — every bend of a note echoes with the kind of emotional weight most players spend lifetimes trying to reach. It’s not just a solo. It’s a sermon.

Visually, the video is steeped in that late-‘70s analog haze — smoky stages, glowing reds and blues, and a sea of mesmerized faces lost in the groove. George Clinton, ever the space-funk ringleader, hovers like a high priest over the sonic ritual, grounding the performance in the group’s signature Afrofuturistic philosophy: liberation through rhythm, elevation through sound.

And then there’s the crowd — the secret ingredient that makes this performance feel immortal. You can feel them breathing with the band, riding every wave of Hampton’s guitar like it’s a shared emotion. There’s a sacred silence when the notes demand reverence, and a rising roar as the solo builds into wailing ecstasy. It’s a communion, not just a concert. The energy in the room doesn’t distract from the music — it deepens it, amplifies it. They’re not just witnessing history; they’re helping shape it, note by note.

What makes this performance so unforgettable is the sheer restraint. In a band known for outlandish costumes and full-throttle energy, Maggot Brain is the eye of the storm — still, contemplative, and emotionally naked. It’s a moment of vulnerability amid the usual chaos, and that contrast makes it all the more powerful.

For fans of guitar heroics, psychedelic soul, or simply witnessing a band in full control of their cosmic powers, Maggot Brain – Houston 1978 is required viewing. It’s a testament to the genius of P-Funk, a snapshot of Black musical innovation at its peak, and one of the greatest live performances ever captured on tape.

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Music

MUSIC: RECTRIX share new album “The Bell That Never Stops Ringing”

“The Bell that Never Stops Ringing” is a terror laden industrial / noise forward plunge into hypnotic soundscapes that will  guarantee the listener be left in fear and abject horror wondering what layer of hell that they have been ever so carefully invited to….

RECTRIX rides the line of beauty and terror on this album “The Bell That Never Stops Ringing” holds a terrifying candle into a thick unknown fog……

In The Bell That Never Stops Ringing, RECTRIX delivers an unforgiving, ritualistic document of sonic intensity that is as much performance as it is protest. Released on the Oakland-based Ratskin Records—this record is a dense, confrontational work that refuses to sit quietly in the background. It’s an invocation, a dirge, and a scream lodged in the circuitry of late-stage collapse.

RECTRIX, the solo project of multi-disciplinary artist and performer Pippi Zornoza, navigates the space between decaying  hardware and body-centered performance. The album feels like it’s being transmitted live from an underground bunker, where RECTRIX channels the energy of resistance through feral vocals, overdriven synths, and shrieking loops. Her voice—central to the record—is not used in a traditional melodic sense, but as a weapon: screeched, howled, stretched, and fragmented until it becomes its own instrument. Think Diamanda Galás, but soaked in rust, filtered through dying tape machines, and buried under layers of found sound and electro-acoustic decay.

The titular “bell” is not always literal. Sometimes it’s a metallic clang echoing across a hollowed-out soundscape; other times, it’s a metaphor—a psychic ringing that never lets the listener rest. Throughout the album, you feel this persistent presence: a mechanical hum, a droning tone, a looped vocal refrain that disturbs rather than soothes. It’s a reminder. It’s a curse. It’s the sound of a warning ignored until it becomes unbearable.

Tracks move like rituals—structured yet chaotic. The physicality of the sound—its grinding textures and high-end shrieks—makes it feel sculptural, like something built out of crushed metal and bone.

This record doesn’t ask for permission. It doesn’t care about genre conventions or comfort zones. It exists in a lineage of transgressive, feminist noise: body-forward, politically aware, and emotionally raw. It feels born from trauma but not consumed by it—an act of survival and sonic rebellion.

The Bell That Never Stops Ringing is not an easy listen—but it’s not supposed to be. It’s the sound of someone refusing silence. Of history clanging through the walls. Of a body in resistance.

Final Thoughts:

RECTRIX have given us an album that’s more experience than entertainment—something between a séance, a riot, and a transmission from a broken future. It’s art that cuts deep, lingers long, and leaves you changed. Preorder now ahead of it’s release 4/18!

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Music

WES TIREY Speaks To Loss and Grief Through New Album “No Winners in the Blues”

“No Winners In The Blues” by Wes Tirey pulls from Americana, blues, folk, and influences from dark, morose string masters like David Berman and Neil Young and even Robert Fripp’s Fripptronics style of guitar playing. A musky, storied and groggled voice tells tales over an exceptionally well played and emotional bed of acoustic guitars. “Something’s in the water, whole world’s upside down, good lord, good lord” as a line, I think sums up well the complexities of themes present on this album, but this is open ended, country./folk music with themes wide enough to get lost in for ones self. Blending both relatable and abstract themes throughout the album, this is perfect winter music for a lonsesome exploration of the self.

“This is honest music for those moments when the night towers over the desert, as the dawn gathers faintly at the horizon: raw blues from the hands of a true master of his craft, now given fresh life with a new edition.”

Dark, weathered strings and undulating, tired but ever present and beautiful voice share stories of loss, grief, confusion and other emotions all too relatable for a world that’s supposed to offer peace and well being. Heavy strings with minimal background electronics create thick and wethered patina for the voice to perfectly cast a fishing line of hope out into a dark and depressed world, even if for a minute. Beautiful, simple music. Highly recommended. Comes out via Full Spectrum Records

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Bedroom Witch Shares Haunting New Single “Venus” Ahead of Album Release 11/4

Los Angeles, CA’s The Bedroom Witch has released her third single from the soon upcoming album “A Place Of Hurt” due out Friday, November 4th, a co release between Psychic Eye Records and Ratskin Records November 4th (happens to be the next #BandcampFriday as far as we can tell as well). The track is titled “Venus” and it’s a glistening, funky, powerful tale told through big, brooding percussion, funk laden bass synths, and lush, etheareal synths and strings dancing into the dark purple glow of the night.

The artists monumental singing voice leaks in and completes her complex and unique sound palette, and what a glowing palette it is. Her musical brush strokes paint the perfect melancholic fall sonic offering of intense serenity, reflection love, loss and regeneration.

Stylistically “Venus” pulls from the likes of dark, atmospheric synth vibes of later John Carpenter, Boy Harsher, Spellling and Profligate while casting layers of magical vocal layerings across the already flawless electronic productions, and although we can hear spats of these artists in her work The Bedroom Witch has created a nuanced sound all her own, which pulses throughout the four minutes of “Venus”.

photos: Bailey Kobelin

Huge orchestral plucks, thumping electro percussion, swinging, spinning synth lines and her beautifully refined orchestral voice gel together to create a foggy and futuristic back drop for The Bedroom Witch’s voice to tell all. If “Venus” is a tae of whats to come for the full album release of “A Place Of Hurt”, rest assured it’ll stay stuck on repeat for the rest of 2022 and well into 2032 for us. Listen to “Venus” exclusively here, and make sure to preorder the album here (Psychic Eye) and here (Ratskin Records) before it’s release on November 4th,2022.

Follow The Bedroom Witch: Instagram | Twitter | Bandcamp

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MUSIC: MONA DEMONE TAPS INTO THE FUTURE AND THE PAST ON “S3RP3NT”

Mona Demone “S3RP3NT” is the funky, industrial laden disco record you need right now!

Something I discovered off the Bandcamp Album Of The Day column, this album has continued to grow and grow on me with every listen. The style is somewhere between psychedelic industrial, broken disco, minimal electronic funk, and a pop leaning take on EBM. “S3RP3NT”  offers us funky, syncopated beats, singing arpeggiated synthesizers topped off with a psychedelic and wavering vocal delivery that sits perfect on top of the mix. This record makes me want to move, even if I’m laying down as I was for the second listen prepping for this review, I found my body moving, almost uncontrollably. Style wise, “S3RP3NT”  seems to pick up where “OP3NDOORS” left off, which you can listen to on Mona’s bandcamp here. ”S3RP3NT” sonically visits several different worlds however the album feels unified and cohesive in both its sequencing and overall vibe.  Flickering, funky and unique drum lines create a solid base for Mona’s army of warm, buzzing analog synths to build emotively rich sonic worlds filled with musical surprises and emotional offerings in nearly every bar. Mona’s music is emotionally dense, rewarding, and something that will not be leaving my playlists anytime soon. 

MONA DEMONE (https://www.instagram.com/mona_d3mone/) states “The songs of “S3RP3NT” are meant to be anthemic. Trans people don’t have enough anthems and we deserve to be celebrated. We break barriers simply by existing as our true selves.  I want these songs to lift us up, to celebrate us, to dance, to connect and to dive deeper into our transformations. Let’s grow our roses now while we are still here. Make the soil rich and send it forward. “

Mona’s music is original, timeless and refreshing in a world littered with music and art geared for instant gratification. “S3RP3NT” offers something new with each track and each listen and the listener will continue will be rewarded with sonic and magical discoveries throughout the album. The tracks on “S3RP3NT”  flow together and create a narrative for the listener to navigate through while the warm, analog tones peek out of the speakers and transport us into 1986 in a musky, underground, sweaty dance club in a post apocalyptic decaying world. Favorite tracks are “WAV3RAV3” and “WHOREZ” You can order MONA DMONE “S3RP3NT” from Ratskin Records here and I highly recommend you do.

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MUSIC: Mirrors For Psychic Warfare Brings Us Into Depths Unknown on “I See What I Became”

Mirrors For Psychic Warfare is the brainchild of Neurosis co founder SCOTT KELLY and Sanford Parker. While puling elements from both the artists backgrounds, this project serves as a true collaboration, where we can see both artists vision refined, sharpened, and amalgamated to create something beautiful, something haunting, something new. 

“I See What I Became” like the title suggests, acts as a sonic reflection of the inner strife, turmoil, of grief, loss, a broken world and a confused mind, or at least it sounds like it. Kelly’s nearly uncanny ability to blend seemingly distant emotions and moods through his musical vision is as nuanced and pronounced on this album as it is on his solo works and the juggernaut-like unrelenting discography of one of the greatest heavy bands of all time, Neurosis. Like Kelly, “I See What I Became” is honest, complex, and layered. The voice howls, screams, cracks, and spaces envelop themselves as time shifts through non linear passageways oh healing, trauma, strife, beauty, all of the inexplainable complexities of humanity are magnified through the music of Mirrors Of Psychic Warfare. If there was ever a less contrived musical collaboration across varied heavy styles than this one, that would be a sound for sore ears. Give yourselves to the nuanced and articulate noise and chaos of MFPW.

https://mirrorsforpsychicwarfare.bandcamp.com/album/i-see-what-i-became