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I can’t think of another record released this year that feels quite as suffocating as Ultraviolet Parasite. Imagine Fear Factory somehow possessing Meshuggah’s bodies and deciding to record an entire album of Botch covers. It sounds completely ridiculous, I know, but I genuinely can’t think of a better way to describe what Frontierer are doing here. Forty-five minutes of absolute madness, with barely enough room to breathe between songs.

What amazes me is how memorable everything is. Fourteen tracks of guitars that sound like industrial machinery tearing itself apart, electronic interference, impossible rhythmic patterns and some of the most punishing production I’ve heard in ages. The whole thing eventually blends into this enormous, chaotic journey where distinguishing one song from another becomes increasingly difficult. And yet, every track has its own personality. I find that extraordinary. There’s an almost obsessive understanding of rhythm behind all this apparent disorder, and the way they manipulate repetition makes even the most absurd passages strangely addictive.

I have enormous admiration for musicians with this kind of determination. You can spend years perfecting your technique, but developing something this distinctive requires a level of conviction that technical ability alone will never give you. Frontierer sound completely possessed by their own music, as though they’ve spent the last five years imagining increasingly unreasonable ways to make it heavier, stranger and more overwhelming. I love that. There’s something genuinely inspiring about people pursuing an artistic obsession this relentlessly.

It’s exhausting, of course. At times almost comically so. But God, what an extraordinary amount of passion they’ve managed to cram into these forty-five minutes.

👇 · 𝗜 𝗿𝗲𝗮𝗱 𝘆𝗼𝘂𝗿 𝘁𝗵𝗼𝘂𝗴𝗵𝘁𝘀 𝗶𝗻 𝘁𝗵𝗲 𝗰𝗼𝗺𝗺𝗲𝗻𝘁𝘀 ·👇

#Frontierer #UltravioletParasite #Mathcore

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It is not, by any measure, their best album, and there is no shame in saying so. What this record is, instead, is a deeply enjoyable one: a collection that earns its pleasures without ever pretending to surpass Bellavista or Cancionero de los cielos. Viva Belgrado’s evolution here is audible in concrete choices, larger melodies, more direct songwriting, choruses that linger, but they never sound like a band trying on a version of themselves that doesn’t fit. The transition from Y fluye into Demasiado pasado is a genuine hinge rather than a sequencing trick; it makes the album feel like one continuous gesture instead of a set of unrelated tracks. Menquitofla folds flamenco into the band’s texture and gives Alain Johannes a solo that belongs inside the song rather than perched on top of it. And El deber de ofender is where the record bares its teeth: an angry, clear-eyed look at gentrification and the difficulty of making a living, cutting through the album’s warmer moments without breaking its melodic pulse.

What makes the record most affecting, though, is how at ease the band seem with getting older. There is less need to turn every feeling into a crisis, and more room for friendship, nostalgia and the possibility of happiness without pretending that life is easy. Memorabilia looks back with genuine sadness rather than sentimentality; Súper futuro closes the album on an optimism that feels earned rather than forced. That is a difficult tone to strike, and it is the album’s real achievement: not transcendence, but coherence; not a band trying to outdo its past, but one learning how to inhabit its aftermath. They could have spent another record chasing intensity or experimentation, but instead they have made eleven songs that feel immediate, personal and remarkably unified. I still love the band they were ten years ago, but I am equally glad they are no longer trying to be that band.

👇 · 𝗜 𝗿𝗲𝗮𝗱 𝘆𝗼𝘂𝗿 𝘁𝗵𝗼𝘂𝗴𝗵𝘁𝘀 𝗶𝗻 𝘁𝗵𝗲 𝗰𝗼𝗺𝗺𝗲𝗻𝘁𝘀 ·👇

#VivaBelgrado #MientrasElGuadalquivirFluyeYFluyeYFluye #PostHardcore #IndieRock

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Making a brilliant EP is one thing. Making a full-length album when people are actually expecting something from you is quite another. Twice Around the Sun was wonderful, but it arrived with the freedom of having relatively little to prove. The South Façade doesn’t have that luxury. And somehow Ugly have decided that the sensible response is to make everything considerably more complicated.

These people are farming aura on an industrial scale. I mean that affectionately, although it’s getting a little ridiculous. Writing pop songs with this many moving parts is extraordinarily difficult, and making them sound this effortless is even harder. The arrangements are constantly changing direction, the musicianship is absurd, and the theatricality never feels forced. There’s also this wonderful seventies psychedelic atmosphere running through everything, something countless contemporary bands attempt to recreate but very few manage to capture with such natural confidence. And the harmonies, man. THE HARMONIES. Some of these vocal arrangements are almost offensively beautiful.

Still, I think Twice Around the Sun had a more immediate appeal. Its melodies were easier to fall in love with, its pleasures more obvious. This album asks considerably more of you. It’s the kind of record designed for walking miles with barely enough water to keep going, knowing there might be something extraordinary waiting at the end. Occasionally you wish they’d make the journey a little easier, but that would probably defeat the point.

Ugly have made a remarkably ambitious debut, full of strange decisions that somehow make perfect sense. I suspect I’ll be discovering new things in it for months.

👇 · 𝗜 𝗿𝗲𝗮𝗱 𝘆𝗼𝘂𝗿 𝘁𝗵𝗼𝘂𝗴𝗵𝘁𝘀 𝗶𝗻 𝘁𝗵𝗲 𝗰𝗼𝗺𝗺𝗲𝗻𝘁𝘀 ·👇

#UglyUK #TheSouthFacade #ArtRock #ProgressiveRock

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There is a specific danger in looking backward, especially with heavy music. You usually end up with sterile, calculated imitations of a time when post-hardcore actually felt dangerous. But Weight of the Reality Beneath doesn’t sound like a band trying on vintage clothes. Train Breaks Down drinks heavily from the chaotic well of the nineties, yet they manage to sound entirely unpredictable. It is genuinely, unapologetically harsh.

The trio builds these intricate, almost fragile math-rock structures and then violently tears them apart with pure screamo intensity. It is explosive. It radiates passion from every corner, capturing the raw energy of their earlier live sessions without relying on modern, plastic overproduction to clean up the edges. There is a physical exhaustion to the way they play, a sense of three people pushing a machine until it breaks.

The aggression here actually has a purpose. The political anger driving the record anchors the noise, giving the sheer volume a tangible weight. It is nostalgic, yes, but it is a nostalgia without a safety net, brutal, direct, and completely alive.

👇 · 𝗜 𝗿𝗲𝗮𝗱 𝘆𝗼𝘂𝗿 𝘁𝗵𝗼𝘂𝗴𝗵𝘁𝘀 𝗶𝗻 𝘁𝗵𝗲 𝗰𝗼𝗺𝗺𝗲𝗻𝘁𝘀 ·👇

#TrainBreaksDown #WeightOfTheRealityBeneath

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Kicking off week 43 of the year with a handpicked selection of new releases worth checking out.

👇 · 𝗜 𝗿𝗲𝗮𝗱 𝘆𝗼𝘂𝗿 𝘁𝗵𝗼𝘂𝗴𝗵𝘁𝘀 𝗶𝗻 𝘁𝗵𝗲 𝗰𝗼𝗺𝗺𝗲𝗻𝘁𝘀 ·👇

#Estuary #MientrasElGuadalquivirFluyeYFluyeYFluye #TheSouthFacade #WeightOfTheRealityBeneath #FromTheToolkitOfLovers

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The best twenty-five albums released during last week ranked by rating.

👇 · 𝗜 𝗿𝗲𝗮𝗱 𝘆𝗼𝘂𝗿 𝘁𝗵𝗼𝘂𝗴𝗵𝘁𝘀 𝗶𝗻 𝘁𝗵𝗲 𝗰𝗼𝗺𝗺𝗲𝗻𝘁𝘀 ·👇

#WhileTheFloodRages #RushEverythingThereIsNoTime #IThinkISpokeTooSoon #WhenTheSandboxHasNoEdge #TheColorlessLightOfEmptiness

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And so we continue. Fifteen more albums from a decade that isn’t even over, yet has already given us records I suspect we’ll still be celebrating generations from now. This is the second installment in my selection of 75 timeless classics, presented in no particular order and regardless of the scores I originally gave them. Some albums reveal their greatness immediately; others grow more remarkable with time. What matters here is that rare sense of artistic completeness, when everything seems to fall into place and almost nothing could be improved.

👇 · 𝗜 𝗿𝗲𝗮𝗱 𝘆𝗼𝘂𝗿 𝘁𝗵𝗼𝘂𝗴𝗵𝘁𝘀 𝗶𝗻 𝘁𝗵𝗲 𝗰𝗼𝗺𝗺𝗲𝗻𝘁𝘀 ·👇

#Aethiopes #CoolWorld #Brat #GettingKilled #Hellmode

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Korn were a huge part of my teenage years. Follow the Leader may not have aged all that well, but it is still one of the most played records of my life, tied to too many memories to ever lose its weight. Their first four albums were strong, some of them genuinely great, and for a stretch they felt impossible to ignore. Then came the decline. Untouchables was a major turning point for me, and that brostep detour was just a straight-up what the hell moment. Still, time has oddly placed the band in a better position than the one they once had. These days, more and more people seem willing to give their early run the praise it deserves and admit how deeply they changed the shape of commercial metal.

👇 · 𝗜 𝗿𝗲𝗮𝗱 𝘆𝗼𝘂𝗿 𝘁𝗵𝗼𝘂𝗴𝗵𝘁𝘀 𝗶𝗻 𝘁𝗵𝗲 𝗰𝗼𝗺𝗺𝗲𝗻𝘁𝘀 ·👇

#Korn #FollowTheLeader #Issues #LifeIsPeachy #Untouchables

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2027 is still a couple of months away, but the music calendar is already starting to look pretty interesting. A handful of albums have been officially confirmed, and some of them are almost guaranteed to generate plenty of conversation. It’s obviously too early to know what kind of year we’re in for, but there’s already more than enough to get excited about. Here are some of the records we can officially start looking forward to.

👇 · 𝗜 𝗿𝗲𝗮𝗱 𝘆𝗼𝘂𝗿 𝘁𝗵𝗼𝘂𝗴𝗵𝘁𝘀 𝗶𝗻 𝘁𝗵𝗲 𝗰𝗼𝗺𝗺𝗲𝗻𝘁𝘀 ·👇

#OneDayThisWillAllBeLore #NothingNewUnderTheSun #NoRefunds #SpeakSoftlySon

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I’ve always been wary of records that mistake punishment for substance. At some point, being difficult has to mean something. Great Falls understood that on Objects Without Pain, an album I loved, but The Bite That Grows Up takes things considerably further. It’s more severe in places, yet somehow easier to connect with. Not easier to listen to. Those are very different things.

The compositions rarely develop as expected. A passage can end just as you’ve begun to understand it, only to be followed by something entirely different. Yet I never get the impression that Great Falls are interested in demonstrating how clever they are. Debt Ethics achieves a curious familiarity despite its constant changes, while Hailstone Numbers is extraordinary for almost the opposite reason. Its quieter moments are genuinely moving, allowing emotions to exist without immediately demanding greater intensity. I wish more bands understood the value of that.

Johnston’s writing is equally compelling. There’s an uncomfortable sincerity to it, particularly in his willingness to acknowledge feelings without necessarily explaining them. Nothing seems exaggerated for dramatic effect. The music is already intense enough.

I still consider Objects Without Pain exceptional, but this is better. More imaginative, more emotionally convincing, and remarkably assured in its decisions. It’s only been out for two days, so I’m certainly not going to pretend I’ve understood every detail. But I’m completely convinced of one thing: Great Falls have made their finest record, and I wouldn’t change a thing.

👇 · 𝗜 𝗿𝗲𝗮𝗱 𝘆𝗼𝘂𝗿 𝘁𝗵𝗼𝘂𝗴𝗵𝘁𝘀 𝗶𝗻 𝘁𝗵𝗲 𝗰𝗼𝗺𝗺𝗲𝗻𝘁𝘀 ·👇

#GreatFalls #TheBiteThatGrowsUp #SludgeMetal #NoiseRock

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I wonder how many ordinary afternoons we would have paid more attention to if we’d known we’d spend the rest of our lives missing them.

The Avalanches seem to understand this better than anyone. They’ve spent their career rummaging through the past, but No Bad Memories feels different. More personal, somehow. Like opening a drawer you haven’t touched in thirty years and finding things you didn’t even realize you’d lost.

Those endless summers when six o’clock felt like midday. The girl you were too nervous to talk to. Making friends within five minutes and assuming they’d be around forever. Life before calendars, responsibilities and the peculiar sadness of watching time accelerate.

And somehow, all of this comes rushing back through the most unlikely sounds. Forgotten commercials, primitive electronics, cheap jingles. It’s almost ridiculous how something created to sell you a product can end up holding more emotional significance than the product ever did.

Musically, it’s astonishing. Thirty-one tracks, barely fifty-two minutes, an almost indecent amount of ideas crammed into every corner. Yet nothing feels accidental. The samples tumble over one another, genres collide, voices appear and vanish. The craftsmanship must have been exhausting, although the whole thing feels wonderfully spontaneous.

It’s their most restless record, but underneath the commotion there’s a sadness that gradually becomes impossible to ignore.

Perhaps growing older is partly about realizing how much of your life happened while you were distracted by something else. All those insignificant moments you never thought to preserve, now strangely more precious than the milestones you actually celebrated.

The Avalanches have made a career out of giving forgotten music another life. Here, for a few fleeting moments, they seem to do the same for ours.

God, I miss those summers.

👇 · 𝗜 𝗿𝗲𝗮𝗱 𝘆𝗼𝘂𝗿 𝘁𝗵𝗼𝘂𝗴𝗵𝘁𝘀 𝗶𝗻 𝘁𝗵𝗲 𝗰𝗼𝗺𝗺𝗲𝗻𝘁𝘀 ·👇

#TheAvalanches #NoBadMemories #SoundCollage #Plunderphonics #NuDisco

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I consider playlists a form of musical murder, so I never listen to them. What I do listen to, though, are advance singles from upcoming albums. I like getting a little taste of what’s coming before experiencing the record as a whole.

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