Fronted by brothers Alec Cavazos (Guitar & Vocals) and Destin Cavazos (Bass & Vocals), exPorter has been lighting up phases since 2012. Formally fashioned in 2018, the band has carried out with the likes of Hinds and Hearty Har, and has constructed a loyal following with a high-energy, hook-heavy sound influenced by bands like Blink-182, Inexperienced Day, Smoking Popes, and the Pixies.
“Southern Kingsnake” attracts listeners right into a sonic world of blues-soaked riffs, commanding vocals, and hypnotic rhythm. The monitor slithers with the uncooked attraction of roadside dive bars and open highways, bearing on themes of transformation and temptation. It’s a fierce preview of the upcoming document and a daring declaration from a band unafraid to evolve.
New Rubber Girlfriend showcases exPorter’s strongest songwriting up to now, with practically 100 unique tracks of their vault and a strong discography that features Bored (2019), Type of Stay at Jensens (2021), and NoBrakesNoBrakesNoBrakes (2022). This newest mission is a definitive leap ahead, full of head-turning singles like “Letting Go,” “805,” “Mustash Sally,” and the breakout “Southern Kingsnake.”
Impressed by Elliott Smith and Belle and Sebastian as a teen, Matthew Azrieli taught himself the guitar by listening to them, Nick Drake, and early Bob Dylan albums. Afterward, on the McGill Conservatory in Montréal, in addition to at Berklee School in Boston, Matthew studied Peruvian composer Agustín Barrios Mangoré and subsequently the classical-indie-folk fusionism of Solar Kil Moon. In consequence, Azrieli honed in on creating his very personal intimate folks music that showcases his vulnerability as an up and coming musician. Expectations, an ornate baroque-pop EP . that includes the brand new single “I assumed I noticed you the opposite day”, is due later this summer time through Baste Data.
ass music heavyweight MUST DIE! continues his remix package deal rollout with the second installment within the “CHAOS” reimagining collection — this time tapping the genre-defying Kill Safari (Kill The Noise & Bro Safari) for a ruthless, high-octane flip that drives the document into uncharted territory. Kill Safari’s remix pulls “CHAOS” right into a darker, extra rhythmically intense dimension that’s each visceral and relentless.
Initially launched in 2019, “CHAOS” stays certainly one of MUST DIE!’s most recognizable and impactful tracks up to now as a Beatport Dubstep #1 and streaming juggernaut with over 9 million performs on Spotify. With its seismic drops and uncompromising power, the one has change into a defining second in his discography and a staple throughout world competition phases.
Now, Kill Safari injects the monitor together with his signature fashion — intricate, off-kilter drum patterns, cavernous basslines, and unrelenting stress. In distinction to the melodic, cinematic take by Flux Pavilion only a week prior, this remix embraces pure chaos in its rawest kind, showcasing the monitor’s infinite versatility throughout the bass music spectrum.
The remix is the most recent style of the forthcoming “CHAOS” Remix Package deal, a curated assortment arriving this July that celebrates the legacy of the unique whereas pushing its boundaries by means of the lens of a few of bass music’s most modern producers. With every remix providing a radically completely different interpretation, the mission underscores the enduring affect of “CHAOS” as a cultural milestone throughout the evolution of heavy bass.
Flooding is a intestine feeling. Fronted by guitarist, vocalist, and songwriter Rose Brown, Flooding is a 3-piece band that explores genres like slowcore, noise rock, post-hardcore, and post-punk. Brown is supported by bassist Cole Billings and drummer Zach Cunningham, who share the songwriting aim of curating summary components of various music kinds to create a definite composition with every album and tune, relatively than becoming into a selected style. Flooding is eager about what music can enable us to really feel and issues it will probably pressure us to confront. Softness and harshness coexist in all the pieces, and there’s freedom in permitting ourselves to be each on the identical time.
Flooding fashioned in 2021, shortly releasing their eponymous debut album, that includes fan-favorite songs “Insure Me, Procure Me” and “Delayed Gratification.” Starting from whispers and ethereal guitar riffs to intense lyricism and distorted blasts of noise, the document cemented Flooding’s place as a band to have in your radar. Their 2023 document Silouette Machine adopted, incomes reward from Rolling Stone, Treble Zine, New Noise Journal and extra for its heavy however soothing and otherworldly sound, bringing in pummeling drums and guitars simply when the listener will get snug. With object 1, Flooding infuses pop-forward songwriting into their sound, buying and selling spoken phrase for melodies and considering like pop stars when cultivating the power of their dwell present.
Στoν Eλaιώνa / Ston Elaióna is John Additionally Bennett’s first album for Shelter Press since his 2019 solo debut Erg Herbe. The American born, Athens, Greece, based mostly flautist, synthesist, and composer weaves a strikingly singular electroacoustic tour for bass flute and Yamaha DX7ii, largely recorded within the golden haze of the early morning hours – bending time on the otherworldly juncture of consciousness and place. Translating from Greek as “within the olive grove”, Ston Elaióna is permeated with the ambiences of the traditional and current world, guided into kind by a playfully rigorous method to sound.
Initially rising in the course of the mid 2000s as a part of Columbus, Ohio’s noise scene, earlier than relocating to NYC round 2010, Bennett’s numerous actions picked up an rising sense of tempo over the next decade – performing and recording as a solo artist (JAB), with the trio Forma and with CV & JAB, his prolific duo together with his associate Christina Vantzou, in addition to taking part in in Jon Gibson’s ensemble amongst many different multifaceted collaborations. Nonetheless, since 2020 the flautist and electroacoustic composer has existed in a semi nomadic state: drifting between Brooklyn, Brussels, intensive excursions, and Greece, the place he lastly got here to relaxation in Athens final yr. Drawing upon a rigorously honed attentiveness to the environments and experiences of on a regular basis life, Ston Elaióna is a set of 9 items (with a further monitor unique to bodily codecs), a lot of them composed and performed dwell because the early morning solar touched the Parthenon, in full view from Bennett’s studio window in Athens. Bennett’s refinement and restraint, honed over his years adrift, led him to undertake a restricted palette targeted on his main instrument, the bass flute, and a Yamaha DX7ii synthesizer tuned to simply intonation scales. Alongside a handful of different keyboards, digital oscillators triggered by his flute, and occasional area recordings, this straightforward palette is mirrored by the deeply emotive sense of minimalism that permeates the album’s two sides.
Following two solo albums outlined by outward going through temperaments – 2022’s On the market in the course of nowhere (Poole Music), which used a lap metal guitar and generative oscillators to evoke the surreal landscapes of the South Dakota badlands, and the largely artificial atmospheres of the 2024 anthology Music For Save Rooms 1 & 2 (Editions Basilic) – the shift in Bennett’s worldly circumstances provided an intuitive return to the calm, inward states of artistic exploration which have traditionally outlined JAB’s sound. In parallel, context offered clear sources of inspiration for most of the album’s themes, in addition to sources for a few of its sounds. The aura of Greece, from the traditional to the current, from its stones and olive groves to its visitors, figures closely throughout Στον Ελαιώνα / Ston Elaióna’s two sides.
The album’s title monitor and opener “Ston Elaiona” is however one key to opening the album’s multilayered worlds: swells of intertwining of bass flute, oscillators, and DX7ii channel emotions of playful contentment felt by Bennett when “within the olive grove” or in his residence, reflecting quiet moments spent among the many historical hills of the noisy metropolis that he now calls house. Drawing upon probability encounters inside day by day life, the flowing synthesizer tones of “Gecko Pads” dance in motions that appear to imitate the actions of a home gecko that appeared on a wall of Bennett’s studio – a fast sprint, after which stillness – whereas “Hailstorm” expands this imaginative and prescient of home intimacy, taking part in the rise and fall of bass flute melodies in opposition to the captured sounds of an intense storm outdoors: a potent sonic metaphor for his intra and further worlds. Because the sharpness and depth of Ston Elaióna comes into focus, playfully threaded amongst its seductive tonal interaction, we encounter Bennett transferring throughout dimensions of time, topical expertise, and layers of cultural conjunction. Like “Hailstorm”, “Easter Daydream” incorporates area recording, however right here his flute tones are joined by city atmosphere and refined punctuations of melody and rhythm, captured from a day lengthy bell procession on the small church throughout the road from his residence throughout Orthodox Holy Week, seeding the composition with a deep sense of immediacy and place that draw consciousness effectively past the boundaries of sound.
Los Angeles, CA-based indie digital artist Child Jane shares ethereal, boundary-breaking debut album, A Grave Marked Unusual, out now alongside the long-awaited early 2000s-style rave monitor “Finish of the Evening.” Releasing aptly at present on Friday the thirteenth, the mission blends hardstyle, jumpstyle, witch home, arduous bounce, and techno into one thing cinematic, theatrical, and unafraid to interrupt kind.
Every monitor on A Grave Marked Unusual, co-produced by Child Jane and Conflict Tourism, attracts from basic horror themes—however with a campy, self-aware twist. Over 16 tracks, the tone is dramatic and stylized, however rooted in actual vulnerability. Beneath the distortion and percussive depth are sticky melodies, sharp hooks, and emotional undercurrents. The mission encompasses a collaborative verse from Damazein and extra guitar work by Matthew Michna on the ballad “Sistine.”
Child Jane shares, “I wrote ‘A Grave Marked Unusual’ in regards to the emotions of such depth that stroll the road between life and loss of life. It’s the place the place you meet your lover in pure bliss or agony outdoors the realms of conference and mundane life. At her core, Child Jane is the protagonist I play in my fantasies; macabre and hopeless in nature, however holding out for actuality to offer her a cause to to not slip into the opposite aspect.”
Soiled Versachi, Child Souf, and Shi La Rosa be part of forces on new single ‘WHORE SLUT DICK FUCK’ WSDF), a high-octane pop monitor that fuses soiled membership power with unapologetic, hypersexual lyricism. Combining Melbourne’s membership tradition with LA’s polished pop manufacturing, the one is an unfiltered celebration of need, sex, and self-expression encouraging listeners to completely embrace the celebration of delight. ‘WHORE SLUT DICK FUCK’ is a worldwide collaboration between Melbourne artist Soiled Versachi and Los Angeles artists Shi La Rosa and Child Souf. Conceived and produced by Soiled Versachi, the monitor was co-produced with Melbourne’s Andrew Huhtanen McEwan (Huntly, Ahm) and combined by LA engineer Cody Doss (Lil Wayne, Huge Freedia, Little Huge). Standing on the forefront of the rising world wave of specific and queer-forward music, alongside artists like COBRAH, Solely Fireplace, and Slayyyter. It’s a daring entry into the filthy pop motion, the place uncooked sexuality and a no-fucks-given perspective collide. With soiled, high-impact manufacturing, shameless lyricism, and a sound constructed for heaving dancefloors, the monitor doesn’t maintain again – it hits arduous, drips sex, and dares listeners to give up to each lust-fueled impulse.
The lure dons Yellow Claw be part of forces with Southeast Asia’s very personal hip-hop sensation, Yung Raja, to unleash a seismic anthem, “Killing It.” This high-octane single, tailored for competition season, is destined to dominate playlists, dance flooring, and social media feeds worldwide.
Mixing Yellow Claw’s signature competition lure power with Yung Raja’s distinctive Tanglish (Tamil and English) rap fashion, “Killing It” delivers an unrelenting assault of heavy 808s, pounding synths, and simple swagger. This collaboration bridges cultures and genres, making a soundscape that can resonate deeply in areas from India, Malaysia and internationally, the place each artists have important fan bases.
Hailing from the Netherlands, Yellow Claw has been a driving pressure in digital music since their emergence in 2010. The duo are celebrated for his or her versatility, fusing components of lure, bass and hip-hop into tracks that transcend genres. Yellow Claw has garnered a large world following and carried out on the world’s greatest phases.
Singaporean rapper Yung Raja shot to fame in 2018 together with his breakout single “Mustafa,” incomes approval for his easy mix of Tamil and English lyrics—a linguistic fashion that’s uniquely his personal. As a rising star within the area, Yung Raja has constructed a world viewers together with his intelligent wordplay, and unapologetic embrace of his cultural heritage..
Yellow Claw’s sound takes this style to towering heights, layering hard-hitting drops with rap vocals and paying homage to that OG lure signature to depart followers in awe for extra. With “Killing It,” Yung Raja’s Tanglish verses add a vibrant cultural dimension, making this monitor a game-changer for followers throughout India, Malaysia, and the globe.
“Killing It” is now obtainable on all main streaming platforms. Whether or not you’re at a competition or blasting this tune out as you drive by means of the streets of Mumbai, this monitor is assured to ignite your spirit and whereas satisfying all these lure fans.
Your favourite Indianapolis-based “faux emo” band, Summerbruise, has introduced their official signing to SideOneDummy Data. To rejoice, they’ve launched a brand new single known as “By no means Bothered,” a tune that looks like a hug and a intestine punch on the identical time. It serves as a tribute to an in depth good friend misplaced to suicide and in Summerbruise style, it’s wrapped in an upbeat sound that’ll get caught in your head, even because the lyrics sit heavy in your chest.
BABYMETAL will launch their new album METAL FORTH on August 8 through Capitol Data. That means “past metallic,” METAL FORTH options collaborations with Poppy, Spiritbox, Tom Morello, Bloodywood, Electrical Callboy, Polyphia, and Slaughter to Prevail—artists BABYMETAL has linked with whereas touring the globe. Followers can stream the beforehand launched singles “RATATATA” (with Electrical Callboy), “from me to u (feat. Poppy)”, and “Track 3” (with Slaughter To Prevail) now on all digital platforms.
METAL FORTH follows 2019’s METAL GALAXY and THE OTHER ONE, their 2023 idea album. PAPER mentioned, “On THE OTHER ONE, the band cracks open the Metalverse, browsing by means of parallel universes and a dizzying maze that assessments their perceptions of truths, lies, and what rests past the darkness.”
For the primary time ever BABYMETAL will provide autographed copies of the brand new album in strictly restricted portions, in addition to a field set, alternate cowl artwork variations, LPs, CDs, cassettes, merchandise bundles and extra. Go to https://store.metalforth.com to buy.
- E mail: neill@outloudculture.com
