Welcome to The Roux! Every Friday, new music is released and though the internet and streaming make it easier than ever to discover something new, the main channels usually rep the same established big names, this leaves equally great albums on the sidelines. Each of these artists is talented and accomplished in their own right. With this weekly feature, we do the searching so you don’t have to, selecting ten releases that were discovered while exploring beyond the algorithm. There’s something here for everyone no matter your taste, so read through, listen, and experience something new!
All releases are linked to the artists’ respective Bandcamp pages.
[Ruptured / Annihaya]
Nemesis is a constantly shifting record, from jazzy and krautrock-inspired drums to post-rock guitar squalls; the four songs here are expansive and engaging. “The Industry” is a paranoid exploration of guitar and drum. At the same time, “Oasis” psyches the listener out by beginning with a propulsive beat before cooling down and spacing out, which is disorienting in the best way.
by The Beegles
[Not For Fun Records]
Sly is a post-punk blend of spoken word narratives, “Dog” and electronic-tinged psychedelia, almost every other track. “Dope” carries a funky, soulful groove, providing the record with its funniest moment. Whereas “Train,” a nine-minute epic, is a freakout excursion through various tones, it works as a lost horror movie theme or that for some space-age sci-fi flick. Honestly, there isn’t much territory The Beegles don’t cover here; the greatest part is that it all sounds astonishingly natural, making Sly a concentrated yet diverse record.
by White Square
[Not Even Art Records]
White Square brings two ten-minute plus tracks of harsh noise to the table on Black Surface, and just as the title suggests, these pieces are dense churning noise compositions. While listening, there isn’t much light to be found; however, both tracks carry a meditative quality that recalls more ambient territory.
by Joey Taylor
A blend of various influences, Hello Hibiscus takes the place of travel for our confined lifestyles, fusing the styles of Indian, Portuguese, and the American South into a cohesive whole. Hello Hibiscus is an easy-going release filled with fascinating cultural exercises. The second in a series of extended plays, the first mirrored Spring, is symbolic of Summer.
Zenchaos demands a bit of patience to get through. Five of its tracks push the fifteen-minute mark; however, by giving yourself entirely to Myælin’s brand of wild animated experimental rock, you reap the rewards of their stylized yet improvisational sounding guitar theatrics. A little metal, a little post-rock, a little noise-rock, Myælin continually drives Zenchaos in new directions beckoning you to take the ride.
by Naked Flames
An Evening of Certainty serves a dual purpose. Three tracks of atmospheric ambient techno from Naked Flames and Tribe Tapes perform as well in the background, filling the space with smooth textures, as they do on the dancefloor, the movement inducing “Certain Dub” and “Certain Movement.”
7. Aphorisms I
Just over six minutes in its entirety, Aphorisms I is a concise yet thrillingly adventurous release that exudes a feeling of dread. It’s easy to imagine this soundtracking my anxiety; the instrumentation coupled with the atmospherics provides the impression of being observed. Before the tracks have time to take hold, under/over cuts them off. It’s like each composition is an ominous take on a moment of alarm without a secure home to return to.
The fifth album from Australian metal artist Burier, Cremation of Lingering Hope, is a solid five-track album of relentlessly churning metal. A conceptual release, according to the musician, Burier touts this release as an “incantation recorded in isolation.” The lyrics definitely fit this mold as they center around liturgical themes, accompanied by the extreme guitar and vocals; Burier paints a wicked and burning epic of a record.
A two-track spastic noise trip of the most unrelenting kind, CAKE is as severe in sound as the album cover would suggest, but there is a fun and refreshingly carefree quality that makes CAKE a winning noise record. It’s a little like technology run amuck.
by Einar Fehrholz
A charming demo release from Einar Fehrholz showcases their mastery with ambient soundscapes, nothing here feels truly raw and if it weren’t for the title, I wouldn’t recognize these as incomplete works or sketches. The sounds within do make me curious what further fleshed-out arrangements may come, but until then, demo satisfies.