Back catalogue: Post Rock/Experimental

Review: Japan's Envy created one of the most respected post-rock screamo albums of all time with this third album of theirs. Originally released in 2001 on Japense punk label H.G. Fact and again as a limited released in 2003 on Dim Mak Records in the U.S., with not many physical copies printed they've been scarcely available. Thankfully, that's all about to change now that this enduring masterpiece of foreboding post rock and blisteringly powerful screams is getting repressed. Envy's strength lies in their ability to flip flop between introspective atmospheric passages and intense guttural aggression within a track and for it to be cohesive. That said, where they don't relent, like on 'Invisible Thread', the adrenaline really kicks in and it's a palpable reenactment of the atmosphere at their live shows.

Review: The cult Kraut/psych/folk/drone outfit France, celebrated for crafting sound that transcends typical genre constraints with atmospheric richness, make an unprecedented leap in their latest release. Teaming up with French underground group Standard In-Fi and Belgian label a1000p, the band embraces an unconventional approach to both performance and recording. The idea was born from a chance encounter between the band and Mim, the sound engineer behind a1000p, who proposed bringing his studio gear directly to a live show. After a failed attempt at a traditional studio session, they settled on something more radical: recording live in an open-air amphitheatre in the French countryside. In 2022, Mim partnered with the Rituale Festival to make the dream a reality, arranging a concert at St. Roman de Codieres, near his vineyards. With the amphitheatre nestled in a valley, Mim meticulously set up his equipment, deploying an array of mics to capture both the immediate and distant sounds of the performance. The resulting sound is nothing short of remarkableian enveloping blend of rawness and finely tuned acoustics with the recording process, intricate and expansive, ensuring every subtle detail of the band's sonic journey is preserved. Whether it's the swirling folk melodies or the layered drones and psych flourishes, the mix elevates their sound to new heights here.

Review: We've all been party to solo material by seminal UK shoegaze sorts Ride's guitarist Andy Bell, but what about their bassist? Not so much. Well, that's about to change. Enter the brooding debut solo album from Ride's low-end maestro Steve Queralt. A largely instrumental affair, there's elements of shoegaze and darkly textured soundscapes. Plus there's guest appearances from more 90s legends: Emma Anderson (formerly of Lush and Sing-Sing) and Verity Susman (Electrlane, MEMORIALS) grace the album. Anderson sings on the pummeling lead single 'Lonely Town', which was launched with an aptly monochrome meditative montage of a music video. Given the power of this debut, we suspect this nine-song collection is the first of many solo albums to come, from a musician who has nothing to prove, but plenty to express.

Review: Swiss industrial veterans The Young Gods return with their most charged record in years, welding searing guitar lines, electronic militancy and raw emotion into a tightly coiled sonic strike. Active since 1985, the trio sound newly reinvigorated-leaner, more combustible. From the outset, 'Mes yeux de tous' blends pounding drums with sharp synth stabs, posing existential questions in the face of an overwhelming digital world. 'Shine That Drone' imagines mass resistance as a dust-raising ritual, while 'Blackwater' pays homage to subversive tech as a tool of protest. But there's tenderness too. 'Blue Me Away' brims with distortion and grief, dedicated to frontman Franz Treichler's late wife, and it delivers the album's most brutal beauty. Elsewhere, 'Systemized' rolls with post-punk menace, and 'Intertidal' channels a lysergic swirl in tribute to the band's psychedelic roots. Produced like a jam, the record feels unfiltered-improvised, but never indulgent. It's a guerrilla document of grief, rage and clarity, as suited to dancefloors as it is to disruption. Nearly forty years in, The Young Gods remain electrifyingly restless.