Sounds

Accounting for a Disappearing Network Movietone, Crescent, and the wider Bristol post-rock network were not simply “good bands from a cool scene.” They were proof that, briefly — very briefly — a particular alignment of economic, social, and infrastructural conditions made it possible for unmarketable music to exist without having to justify

Cantrips, by Buddha on the Moon2 track albumBuddha on the MoonBandcamp New & Notable Jul 10, 2025 Cantrips and Tails “Cantrips and Tails” began as a synthesizer squiggle, a throwaway line made during a lull at work using an iPad app I no longer remember. It was paired with a

Flying Saucer Attack don't really enter the room. They're already there when you notice them. Their records don't announce a position or propose a future. They don't feel like interventions. They feel like something that was happening anyway, and happened to be

Ulver Neverland (House of Mythology) There is a long-standing temptation to describe every new Ulver album as a “reinvention,” as if the band were engaged in a restless chase for novelty. Neverland quietly dismantles that idea. This is not a reinvention so much as an adaptation—an adjustment to conditions

Sound, Subsidy, and the Ground We're Actually On Damon Krukowski's Why Sound Matters insists on what platforms would rather we forget: sound is material, labor is real, and the way we treat both reveals what we value. Noise pollution, streaming's devaluation of recorded music,

In praise of the wobble, the breath, the noise, and the bits the plugins keep trying to bleach Here’s the quiet catastrophe of modern music—the secret everyone senses but few dare phrase aloud: we built tools that elevate those who can’t, and tools that flatten those who

On Interventional Listening and Why You Shouldn’t Unscramble an Egg I had spent an entire morning doing a “home remaster” of Levitation’s Need For Not, that much-anticipated—and then promptly mishandled—debut from Terry Bickers and his band of merry conspirators. I loved the lead-up: the singles, the

The Vanishing of Opal and the Rise of the Unintentional Custodians After the release of her solo album Five Ways of Disappearing, Kendra Smith pulled off her vanishing act into the woods of Northern California. Left behind in that puff of smoke were the two LPs from her previous and

There's a question that keeps surfacing in conversations about music, collaboration, and how work survives: why do certain projects—often the ones that looked most promising—collapse before they find their audience, while others that seemed fragile or difficult somehow endure? It's not a simple question

Under the Hood of Dalis Car Dalis Car looked inevitable on paper. Peter Murphy, newly untethered from Bauhaus, carrying theatrical gravitas and mythic self-regard. Mick Karn, freshly freed from Japan, bringing one of the most elastic and idiosyncratic instrumental voices of his era. The promise was obvious: nocturnal art rock