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Thursday, May 7, 2026

Angel Olsen - 2024 - Cosmic Waves Volume 1

Jagjaguwar, Inc. – none


A few years ago, Angel Olsen quietly formed somethingscosmic, a new imprint and a home for Olsen to have “the flexibility to release when and how I want to with the help from my longtime partners at Jagjaguwar.” Somethingscosmic’s second release, ‘Cosmic Waves Volume 1’ is a compilation reimagined as a dialogue; side A features artists chosen by Olsen, with each artist choosing their own song for the collection. Side B is a collection of songs from the same artists, but chosen by Olsen and recorded by her. Each song, unsurprisingly, illuminates a new artist Olsen finds spectacular. Hearing Olsen refract the artists’ songs back to them reveals the depth of Olsen’s imagination, while spotlighting multiple exciting artists at work.

“As someone that emerged into the music scene through a small tape label,” says Olsen, “I’ve wanted to continue the spirit of discovery and of my debut release, ‘Strange Cacti’, while supporting and collaborating with artists and friends whose music I have been moved by. I feel there is something unique and special about covering another artist's song,” she continues. “We all make it our own, or we try to, but I personally always learn something new about the process when I’m engaging someone else’s words and melodies in such a close way. Time and again I find that putting myself into various different styles of songs can lead to new ways of thinking and creating.”

The artists on “Cosmic Waves Volume 1” draw from a sprawling, myriad sounds, eras and inspirations. Poppy Jean Crawford’s magnetic growl and guitar-god heaviness; Coffin Prick’s reckless, psychedelic fuzz; Sarah Grace White’s hypnotic voice and melody; Maxim Ludwig’s expert minimalism; and Camp Saint Helene’s beautiful, big sky folk. “Thank you for listening and supporting this experiment,” Olsen says. “If you like what you hear, please support these artists by buying some of their music, merch, a ticket to their show, or telling your friends about them. It goes a long way. Love, Angel”


 

Merzbow / Lawrence English = Мерзбоу / Лоуренс Инглиш - 2022 - Eternal Stalker = Вечный Сталкер

 

Dais RecordsDAIS192

On their first official collaboration, Japanese noise pioneer Masami Akita aka Merzbow and Australian sound sculptor Lawrence English present a harrowing, surrealist portrait of nocturnal industrial activity, spawned by field recordings made in a sprawling factory complex seven hours north of English’s home in Brisbane. He characterizes the area as “uneasy and unsettling,” awash in the sickly glow of smelters and refinement machinery, somehow not of this world – a liminal quality vividly captured in Andrei Tarkovsky’s sprawling purgatorial opus, Stalker, to which the title alludes. Akita, too, described early drafts of Eternal Stalker as feeling “like the soundtrack to a dystopian science fiction opera.” A mood of mechanical dread and ruined futures permeates each of the album’s seven potent compositions.

Opener “The Long Dream” sets the stage with steady rain on sheet metal, punctured by thunder and metallic echoes, reverberating to the rafters in a collapsing warehouse. Quickly the tempest rises. “A Gate Of Light” and “Magnetic Traps” both convulse in churning furies of electric demolition and rattling chains, roaring and relentless. “The Visit” and “Black Thicket” operate more at a distance, surveying the topography of steam, rust, and liquid metal from above, their flickers of violence like gunfire swallowed by blankets of darkness. This is noise at its most elemental and unknowable: brooding, bristling, and opaque, stalking forbidden peripheries of chaos and creation.

Discussing Akita’s music, English refers to its “intense substrata that is purely psychedelic; it consumes and confounds.” The seasick swells of friction and fracture subsume the listener, forcing an auditory surrender: “this saturation of the senses can be a euphoria.” Proof comes halfway through “The Golden Sphere,” when the howling mayhem subtly recedes, revealing an eerie siren drone hovering in the void, like the resonance of a dead star galaxies away. Slowly a seething, venomous wall of volume returns, shredding the signal until its frequencies fray, whipping away into the eye of the storm. The combined effect merges obliteration and liberation, rapture and ravagement; it’s the sound of dissolution as resolution, uprooted and unmoored, finally freed from form.

1-800 MIKEY- 2024 - Digital Pet

 

Erste Theke TonträgerETT - 106

We love 1-800-MIKEY the lo-fi bedroom garage punk project of Eora/Sydney musician MICHAEL BARKER, who also plays in the live line-ups of R.M.F.C. and GEE TEE. The latest album Digital Pet is 'for all the cuties', sunny, full of infectious hooks. If you want an album to make you smile and brighten your day—this is it!

Attention all pop aficionados and rock enthusiasts! The wait is over—1-800 Mikey is back with his electrifying new album, Digital Pet, and it's about to blow your mind! Packed with irresistible hooks and infectious melodies, this LP proves that the best pop is still crafted by rockers who know how to deliver a punch. From high-energy anthems to heart-stirring ballads, Digital Pet is a masterclass in the art of crafting pop that rocks.

Dive into a sonic experience where every track is a hit waiting to happen. Whether you’re hitting the road or just chilling at home, Digital Pet promises to be your new favorite soundtrack. Don’t miss out on the album that’s setting the bar high for pop-rock perfection. Get your copy of Digital Pet and discover why 1-800 Mikey is redefining the genre with every beat. Stream it now and let the hooks take over!

Chat Pile - 2022 - God's Country

 

Flenser RecordsFR129

There’s a sick irony to how a country that extols rhetoric of individual freedom, in the same gasp, has no problem commodifying human life as if it were meat to feed the insatiable hunger of capitalism. If this is American nihilism taken to its absolute zenith, then God’s Country, the first full length record from Oklahoma City noise rock quartet Chat Pile is the aural embodiment of such a concept.

Having lived alongside the heaps of toxic refuse that the band derives its name from, the fatalism of daily life in the American Midwest permeates throughout the works of Chat Pile, and especially so on its debut LP. Exasperated by the pandemic, the hopelessness of climate change, the cattle shoot of global capitalism, and fueled by “...lots and lots and lots and lots and lots and lots of THC,” God’s Country is as much of an acknowledgement of the Earth’s most assured demise as it is a snarling violent act of defiance against it. Within its over 40 minute runtime, God’s Country displays both Chat Pile’s most aggressively unhinged and contemplatively nuanced moments to date, drawing from its preceding two EPs and its score for the 2021 film, Tenkiller. In the band’s own words, the album is, at its heart, “Oklahoma’s specific brand of misery.” A misery intent on taking all down with it and its cacophonous chaos on its own terms as opposed to idly accepting its otherwise assured fall. This is what the end of the world sounds like.

Stylianos Ou & The Cortisol Cows - 2024 - Fucked Forever

 

Ever/Nevere/n-085

Greek musician Stelios Papagrigoriou is a practitioner of a dizzying array of creative pursuits. He is a published author with novels, poems and short stories to his credit. His award-winning visual arts practice encompasses sculpture, installations and painting (which adorn the front and back covers). Papagrigoriou has also delved into the digital art realm, proving that no medium is beyond his grasp. Reflecting his voracious appetite, Papagrigoriou’s wide-ranging sonic explorations are just as intriguing and well-executed as the other forms he operates in. Hand & Leg, an art-punk duo with Iro Sofoulaki on bass and Papagrigoriou on drums, put out two albums of addictive, angular crunch before hanging up their limbs. Adopting the moniker Stylianos Ou, Papagrigoriou has embarked upon yet another expedition into uncharted waters. In 2023, Søvn Records released To Qfahlogo, a complete about-face from Hand & Leg, with Papagrigoriou using a modular synth to sculpt Aphex Twin-like compositions. Blending the processed voices of children with frenetic percussive textures, this alien landscape beckoned with a strangely human hand. Just when you think you’ve got Ou figured out, he makes yet another 180 degree turn into an arena that might surprise even his most dedicated listeners—the Athens-based polymath has gone full singer-songwriter.

Released by Ever/Never Records, Fucked Forever finds Ou in troubadour mode, bringing along an entire band, the Cortisol Cows, to lay down a suite of songs teeming with bitter laughter, triumphant resignation and fleeting glimpses of that most elusive of instincts—hope. At first glance, Ou’s version of hope might seem incompatible with yours. To the matter of his intentions, he tells us that, “Songs work slowly and with no clear purpose, and for sure, even the most humble ones, are a great way to learn how to live, to learn how to die and maybe for some magical seconds, to see clearly and in all its glory, the blistering flame that consumes us constantly.” I doubt Burt Bacharach ever had thoughts like this, but Lead Belly probably did. Then again, Mr. Huddie Ledbetter never had a chance to pen an ode to one of the 21st century’s most controversial authors, as Ou does with “Houellebecq My Brother.” Ou’s willingness to engage the sordid affectations and indignities of modern life is revealed by song titles such as “Prophet Squirting,” “Our Fake Tits” and “Pornhub Spiritual.” Like respectful jesters at a funeral, the quintet—using banjo, cello, bongos, piano—acquits itself with grace and sensitivity, never overwhelming the lyrical concerns, but fleshing them out, letting them stretch-out and breathe, while never going slack. The way the songs roll and twang and hint at a wildness simmering beneath the tattered elegance resembles acclaimed labelmates Ryan Davis & the Roadhouse Band, old hands like Bonnie “Prince” Billy, departed masters like Sparklehorse and rising stars like MJ Lenderman.

This is music made for bars where the walls sweat whiskey, cigarette smoke feels like a breath of fresh air, as the patrons stand on wobbly legs and sway like their lives depend on it. And perhaps they do. The last word goes to PapagrigoriOU—“We wait for songs as we wait for trains in the night, or people in our lives. These songs were living inside of me like bacteria and finally bloomed.”

If we are truly Fucked Forever, then at least we now have the proper soundtrack.

Human Impact - 2024 - Gone Dark

 

Ipecac RecordingsIPC279LP

Human Impact, the laser-precision noise-rock alliance of Unsane frontman Chris Spencer, Cop Shoot Cop's squall-maker Jim Coleman, Made Out of Babies' Eric Cooper and Daughters' Jon Syverson, release Gone Dark, the band's second full-length album out Oct 4th 2024

Gone Dark is a fiercer, tighter upgrade of their taut grooves, brittle guitar shards, impassioned shouts and clouds of dystopian noise. Not a cry from the darkness but a shout through the darkness, a robust proclamation of resilience and opposition in the face of impending apocalypse.

It follows their self-titled debut, which was released on the eve that the world stood still, and was followed by a slew of singles which culminated in the the release of EP01 in 2021 and touring in 2022. The band graced the cover of New Noise Magazine (France) and were featured in a New York Times article amongst other recognition.

"We were all looking to go with something more raw and aggressive than the previous releases." adds Spencer. "There was a real desire to capture more of what the live performances had been like. With this one, we had plenty of time to develop a full, cohesive album joining songs together with interstitial pieces more like a live performance would be. With Gone Dark we have arrived at a place where we fully understand who we are as a band, so it's a bit more focused and relentless."

The Human Impact arsenal is more formidable than ever thanks to the addition of bassist Eric Cooper (Made Out of Babies, Bad Powers) and drummer Jon Syverson (Daughters). Spencer had spent the 2020 Covid lockdown working on a cabin in the East Texas woods and would travel into Austin for informal jam sessions with the pair in the bass player's garage. Friendly blasts through vintage Unsane songs ultimately resulted in the rhythm section being fully absorbed into the Unsane and Human Impact lineups for their 2022 European tours.

Organ Of Corti - 2024 - Colluvio ​​/ Mutatio 7''

iDEAL Recordings – IDEAL 255

This is two new pieces by Swedish trio Organ of Corti. Tape loops by Dan Johansson of Sewer Election/Enhet för Fri Musik etc and Mattias Gustafsson of Altar of Flies. Synths and mixing by Joachim Nordwall.

Breech Boys - 2024 - Greetings From Paradise

Slow Death Records – SDR-054

 

Wednesday, May 6, 2026

Zorn - 2024 - Endless Funeral

 

Black Konflik RecordsBKR242

Wand - 2024 - Help Desk / Goldfish

Drag City DC925



 

Jim Nothing - 2024 - Grey Eyes, Grey Lynn

 

Melted Ice Cream – MICV015

David Grubbs & Loren Connors - 2024 - Evening Air

 

Room40RM4226

Maryrose Crook & The Renderers - 2006 - Ghosts Of Our Vegas Lives

 

3 Beads Of Sweat – 3BOS 1009.2

Etienne Pelosoff - 2018 - Trve Brutal Black Jazz

Self-released – none

 

Germ Lattice - 2024 - Gipping Through the Ages

 

Horn of Plenty <Onone

Jacket Burner - 2025 - Tonite

 

Goodbye Boozy RecordsGB 216

Guided By Voices - 2025 - Universe Room (24bit-48kHz)

 

Guided By Voices Inc.none

The Great Unwashed - 1983 - Clean Out Of Our Minds

 

Flying Nun Records – BIG 001

Monday, May 4, 2026

Cool World - 2024 - ST

 

Flenser Records – FR164

Like the towering mounds of toxic waste from which it gets its namesake, the music of Oklahoma City noise rock quartet Chat Pile is a suffocating, grotesque embodiment of the existential anguish that has defined the 21st Century. It figures that a band with this abrasive, unrelenting, and outlandish of a sound has struck as strong of a chord as it has. Dread has replaced the American dream, and Chat Pile’s music is a poignant reminder of that shift – a portrait of an American rock band molded by a society defined by its cold and cruel power systems.

Besides being the name of a largely forgotten (and panned) 90s film, Cool World makes for an apt title of Chat Pile’s sophomore full-length record. In the context of a Chat Pile record, the words are steeped in a grim double entendre that not only evokes imagery of a dying planet but a progression from the band’s previous work, moving the scope of its depiction of modern malaise from just “God’s country” to the entirety of humankind. “Cool World covers similar themes to our last album, except now exploded from a micro to macro scale, with thoughts specifically about disasters abroad, at home, and how they affect one another,” says vocalist Raygun Busch.

Though very much on-brand with Chat Pile’s signature flavor of cacophonous, sludgy noise rock, the band’s shift to a global thematic focus on Cool World not only compliments the broader experimentations it employs with their songwriting but also how they dissect the album’s core theme of violence. Melded into the band’s twisted foundational sound are traces of other eclectic genre stylings, with examples of gazy, goth-tinged dirges to abrasive yet anthemic alt/indie-esque hooks and off-kilter metal grooves only scratching the surface of what can be heard in the album’s ten tracks. “While we wanted our follow-up to God’s Country to still capture the immediate, uncompromising essence of Chat Pile, we also knew that with Cool World, we’d want to stretch the definition of our “sound” to reflect our tastes beyond just noise rock territory,” reflects bassist Stin. “Now that we had some form of creative comfort zones in place after hitting that milestone of putting out a full-length record, album #2 felt like the perfect opportunity to challenge those limits.” Besides stylistically stretching the boundaries of the Chat Pile sound, Cool World is also the band’s first record to have someone else handle mixing duties, with Ben Greenberg of Uniform (Algiers, Drab Majesty, Metz) capturing and further amplifying the quartet’s unmistakably outsider and folk-art edge.

The proverbial thread tying all of the experimentation on Cool World together is the depth to which Chat Pile dissects the album’s theme of violence. Whether it be the cycle of creating and passively consuming literal and figurative violence on sister tracks “Camcorder” and “Tape”, the diminishment of crimes against humanity by way of foreign policy and colonialism on “Shame”, or the mental anguish of hopelessness on “The New World”, Cool World is an apocalyptically bleak record. Sure, Chat Pile’s debut album was plenty disturbing with its B-movie-inspired interpretation of a “real American horror story”; what Chat Pile depicts on Cool World is unsettling not just from its visceral noise rock onslaught, but from depicting how all sorts of atrocities are pretty much standard parts of modern existence. In film terms, think something like a Criterion arthouse film by way of schlocky grindhouse splatterfest: undeniably gratuitous and thrilling in the moment but leaving a looming dread in the back of one’s mind for how close the horrors depicted mirror reality.

“If I had to describe the album in one sentence,” explains Busch, “It’s hard not to borrow from Voltaire, so I won’t resist – Cool World is about the price at which we eat sugar in America.”

David Nance - 2024 - Don't Take That Way, That Way's A Mess Outtakes 2020-2024

 

Western Records – WR015

Hot Tubs Time Machine - 2024 - Food & Ruins

Spoilsport Records – SSR035

 

Thorn Wych - 2024 - Aesthesis

 

Hood Faire – HDFR012

Kotra & Zavoloka - 2006 - Wag The Swing

 

Kvitnu – kvitnu 1

Ekkehard Ehlers - 2003 - Politik Braucht Keinen Feind

 

Staubgold – STAUBGOLD 41

The Sprouts - 2025 - One Room to Another

Self-released – none  
 
 

Li Yan Jun - 2007 - The Dame of Undertone

 

FMG Music  None

François Carrier / Michel Lambert / Jean-Jacques Avenel - 2008 - Within

Leo Records – CD LR 512

 

Sword Heaven & 16 Bitch Pile-Up - 2004 - Come Here, Sandy

 

Gameboy Records – GB64

16 Bitch Pile-Up - 2004 - They Went Extinct Because They Became Invisible CDr

Gameboy Records – GB63

 

16 Bitch Pile-Up - 2005 - Live On KFJC 07-09-2005

 

Not On Label  None

16 Bitch Pile-Up - 2005 - Lord Hall

 

Obelisk Sounds – OBE008

16 Bitch Pile-Up - 2005 - No White Pants

Black Lakes – BLK004

 

16 Bitch Pile-Up - 2006 - ADAD CDr

 

Triple SSS – none

16 Bitch Pile-Up / Burmese - 2006 - Bored Fortress Split 7''

Not Not Fun Records – NNF036