Going through this record won’t be a calm experience as it was perhaps intended. Lots of questions will spark in one’s head. Is this more of a distribution experiment? Or is it a strong and important artistic piece as well? Some may feel that the music does not match the logistic experimentation as it was the case with In Rainbows. It is obviously not as original at least. It’s safe to say that this is the first album by Thom Yorke that won’t bring anything new to the table. That’s not a harsh remark since he has been constantly innovating the soundscape for more than 20 years. This time around though Thom and Nigel play with juicy innovation that others popularized recently. The heavy ducking of Purity Ring or Braids though is much more coherent, more melodic, more elaborate and it won’t hurt while listening on headphones. Truth Ray kinda switches the roles here. We used to hear Thom being the elaborate one.

The rest is cool. It is the core and skeleton of all the beauty and essence found in radiohead and in previous yorke-related music. This time everything’s truly naked though, the same - but totally stripped.

Score: 8 / 10


Jack White - Lazaretto 2014

While he pretty much looks like he’s been through a real lazaretto lately, Jack White, in all his newfound grimness and controversial persona , displays his latest work with all the bells and whistles that should be expected from a guy that is hailed as one of the last true rockstars alive. He captured all the momentum possible but unfortunately not everyone understood his effort and everyone laments over “Elephant” glory shades. He’s just more and more drowned into americana and country and it’s fine. He’s more than rock, he’s always been. The songwriting is still sharp, but less accessible to most of his fanbase. We’re goona be fair and admit that his impact is not as strong as the White Stripes days but he balances that with stylistic freshness. And that’s exactly the right move to keep him the last real rockstar and perpetuate his myth.

Score: 8 / 10



This year, KoRn re-released their absolute massive new record from 2013 with new goodies. This serves as a promo tool for their full year of touring around the world and the fans can now hear some live tracks with Brian Head Welch on guitar for the first time since his departure in 2004. The album also includes some b-sides that are rather hard to find, those being pressed only on previous Japan versions of The Paradigm Shift. The absolute new banger here and the star of the show is the new track they recorded called Hater. Describing this song is rather pointless. Is just another well done Korn song. It’s a banger as we’d expect cause when Korn delivers, they do it like no other band. The song is a groovy digital rock monster with an irresistible pop vocal melody line. Jonathan’s writing capabilities are just out of this world.The vocal hook on this tune is just mesmerizing. He constantly improves his skills and breaks new territorries and that’s scarry. Name one artists that succeeds in   doing this after 20 years of brilliant carreer please. Well, nobody? That’s exactly our point.

This year also marks the 20th anniversary of their groundbreaking debut album! The band deserves some celebration and great feedback for a wonderful carreer. Not to mention that this album is perfect. So go and buy the hell out of this album! KoRn rules!

Score: 10/10



The most beautiful pop group in the world today spawned a small perfumed package of songs that makes us happy and entranced. It’s like having a small box of fine chocolate. They constantly seem to push for a formula to break them more into the mainstream. They work hard to bring yet another perfect single by somehow flooding the timeline of their carreer. They never failed but I think their underground status is the most charming thing about them . Of course they should be kings of the world, fuck everyone else. They deserve endless pages in music history also. But oh man, I am that selfish and proud that this is MY amazing secret awesome band that kills all my friends and make their jaw drop whenever i spin this group.

Score: 9 / 10


Luicidal is a punk gang led by the ex- Suicidal Tendencies bassist Louiche Mayorga. The group aims to capture and to further spawn the raw original skate punk of the early Suicidal Tendencies era. It’s an ST alter ego built up by members that had their way into the iconic crossover band at different points in time and this is their first attempt at delivering that raw style in the form of new compositions.

Well we kinda need that sort of aesthetic and sounds on the streets again. We’re all kinda bummed on the instantaneous association between punk and the likes of blink 182 kids make these days. We think of modern punk as garbage and it’s really not the case. These guys bring back modern punk as it was before it got into joks’ playlists. 

The pains of being old is that you tend to get past energetic music and sink into sophisticated levels of musical expression. It’s hard to spin that old Sex Pistols favorite when you get into neoclassical. But check these guys out. The album sounds like it’s captured live. They really bring back that youth energy and makes you want to be teleported in a huge moshpit. It’s that really cool feeling that you get when you see a good band that you never heard of before when you attend a random gig.

The songs are straightforward, simple and powerful. Yet they seem to blend in a ton of styles. The riffing is hardcore mayhem and some songs also lay down some classic thrash metal riffs. You’ll even hear classic heavy metal interludes. So, there’s plenty of room for surprises here. Monotony is not their game.

If you ever enjoyed hardcore punk then check this release out! 

Score: 8 / 10



It really feels like Aghori trance. It really feels like a whole ritual of entropy and rebirth with her bones and her guitar in the center as symbols and guiding. 

This is one of the records that will allow you to experience something uniqe, unheard of before. That is Diane’s voice and her mind-numbing technique of expressing different notes with a sublime aggressivity of transition. And it is not that irish/scottish thingie. 

Her past records displayed it already but with a rather sub-lo-fi quality. It is really nice to hear her in a more normal way so she can shine even brighter.

Let’s hope the cello stays as well.


Score: 9/10



Who wouldn’t want more and more new blasphemic sonic blessings from these guys? They acquired a sense of ultra-artistic musicianship , so  spawning some rather tedious sonic nonsense is impossible for them as it is not for others that damaged their halo of creativity with time’s passing.

Everyone with decent taste should just hit play and  drool at Hellhammer’s ongoing superhuman skin onslaught. You just can’t hear that anywhere else. 

If some were worried and devastated by the departure of Blasphemer, calm down. It is really curious, but Teloch, the new guy just slays in the same Blasphemer style. The songwriting level of quality is still up there.

So yeah, this really is Ordo Ad Chao part 2. Both musically and sound-wise. Nothing is new on surface. True geeks would disagree. “Maaaan have you heard those ravishing tempo increases in the midst of some songs?” . So you’re hearing Hellhammer blast at superhuman speeds and just when you think this is amazing, the whole tempo just speeds up to alien-level ecstasy. It’s like a big shot of cocaine into an already hyperkinetic behaviour. That’s a real slap in the face for those that were bitching about fake nekro production. This is not an intentionally bad sounding Pro Tools session. Can’t do those tempo variations with click tracks. Here is a band that still retain that true “band feel”. Here we have men sweating and bleeding on their instruments. This is a true horde from hell. So as mentioned before…. nothing is new  (on surface). The beast hides underneath.

Oh… and I hope our readers are educated enough, because we won’t  write about this band’s history and background. It’s useless, we care for music and -  believe it or not -  their new music tops even the most shocking drama they had back then. It’s shocking good!

Score: 9/10



       After having a rather platonic affair with some eerie witch house-sprinkled minimal electronic bass music, Sonny kept his word as he was indeed leaving. He didn’t necessarily meant leaving his sonic army of scary monsters but rather pointing out his  fierce infidelity regarding pretty much any sonic spectrum that he’d conquer. So he ditched in a predictably unpredictable way even the newer more pretentious and calm  tunes that worried some of the filth lovers. 

The striking fact is that he won’t even respect his “leaving” habit. If the collaboration with Boys Noize  only came to reinforce a sense that more “less than EDM accessibility” was what he is aiming for , here he presents a record full of the Moombahton that he mixed during his more recent live sets.

This is truly his first EDM release as he really goes more in the Aokified sense of partying rather than sticking to his bangers where people would also stagedive and mosh. He goes over the top along Diplo and goes on mixing tons of reggae and stupid-simple dance synth lines just to make irresistible booty shakers.

His subs still jump out of the speakers but the brostep is indeed brostep this time around, as a true watered down version of his old filth aggression. Tracks like “Fuck That” still keep the eerie sensations and ambiance that was delicious on “Leaving” while bringing forth a wild combination of atmospherics and crazy heavy oldschool bass wobbling. The scary monsters are still here but they are more disguised in a clever way. If you turn “Fuck That” way up, it will not only blow your walls off with the massive lurking subs but it will also open a newer, ever-widening horizon of dark classy electronic ambiance.

Score: 9/10



       You probably know him since he has a pretty big Youtube following. Dustin Prinz is the typical guy that others call indie singer/songwriter , who spreads his charms mainly on Youtube. Well the indie term would only describe functionality and logistics here since it should not be confused with real indie music, no not the Interpol joke but the 80s alternative scene. Dustin has that typical Youtube star sound on this new record, which is not so typical of his style. If you’re diggin’ around for your music on Youtube you probably know him for some time now and you think of him as that virtuoso guitar player dude. 

      Indeed Dustin, born in Nebraska is a guitar whiz kid that can easily impress anyone with his guitar idiosyncrasies. He always pulls cool stuff out of the hat like hybrid picking and percussive acoustic guitar tricks, stuff that he would put the “para-picking” trademark on.

       On this CD however you don’t get to hear that side of him, so newbies beware, he’s more than just a pop singer. Here he tries to appeal to a wider audience with some rather formulaic acoustic pop songs about heart ache and everyday problems that the simple man would relate to. The music is calm but it often seem to push some dynamics and alternate rhythmic/tonal patterns just to make stuff more interesting. There are some technical eccentric takes and intelligent twists to make you know that Dustin’s vision can go way more complex than the easy listening music theme that he’s trying on this time around.

If you love your music pretty and calm then you’ll totally dig Dustin’s embrace of this style as he presents it as sincere as he can be. His voice is warm and really complements his gentle guitar sweeping. This is sunday afternoon music for rest. It should do no harm to anyone.

Score: 8/10

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Back then, when hyperbolic tongue in cheek music was fairly unheard of , Reh Dogg was probably the one who pioneered the latter awkward aesthetic that would eventually culminate with success acts that stretch even to Nicki Minaj or that lurks to some degree inside the skeleton of more respected ladies that cover their pop artificialism with classic trademarks by Queen. Even though he’s not so out there in the spotlight right now, Reh was hitting hard well before Die Antwoord or Lil B. Who can forget the massive viral breakthrough from years ago that was “Why Must I Cry” ? He’s not just one of the first in the game. He owns all others with his ability to confuse the listener. No one knew if he is for real or if his attitude was a brilliant comic act. It had you watch all of his videos to figure that out. You don’t really have that curiosity with The Based God, let’s say.

So Reh has a record out and he’s really serious about it. In the age of singles and digital downloads, Reh proves that he has class, he stands out. Mixtapes aren’t his deal also. He delivers pure classic album format with a well thought tracklist dynamic. He introduces the Calypso style. He’s always on the run, alway trying  not only to reinvent himself but to also educate the crowd with this unique style.

Reh’s flow is cool on this record, his rapping style is somehow different as he embraces a very cool homegrown blend of semi-descifrable reggae style rappin’. He also feeds his fans with some tunes that feature his signature ballad style aching-swan singing reminiscent of “Why Must I Cry”.

What really stands out on this record is the production. No matter how serious is your take on Reh Dogg, you can’t deny the cool dynamic sound on this. His production is sleek , clean and boomy without being over-the-top. You won’t hear this level of production in the more mainstream acts from this genre that sound cool (Die Antwoord ) .

With track titles like “American Gals Stay Away From Me” or the provoking “Reverse Racism” , this record will obviously shake your booty ! Respect! Reh Dogg is your friend!

Score: Rating is futile !