"A cultural cold war divided along class lines, a new age of surveillance, heroes incarcerated in the worst conditions possible for speaking out against the military complex, a corrupt press core owned by multi-national corporations and raised to repeat soundbytes. This is the post-cyberpunk world on the brink of collapse Atari Teenage Riot’s fourth album Is This Hyperreal? is born into. Every track is an iridescent explosion of nervous energy requesting your attendance in Atari Teenage Riot’s campaign party of education and awareness."

digital hardcore
drum & bass




"The sound of Omar Rodriguez-Lopez and John Frusciante riffing off each other and bouncing textures over simplistic, yet defined melodies is what lies in this new Omar-related musical endeavor. The record goes back to the concept of a two-man guitar jam. It's one of the most basic forms of musical bonding and the intertwining of individuals' styles and musical thoughts over a set progression or song. However the process of two men recording their completely different musical abilities over an album of set melodies and songs, transcends above what is originally seen as a stripped-down, simple jam. (...) The fact that the jam-based, un-intellectualized approach of this album can create such a haunting atmosphere and create a vibe of musical complexity, is what is ultimately the most impressive aspect of this record. When two men approach the same song structure with different sounds and ideas, it can lead to magnificent heights."





"Listeners under the impression that drug music began with "White Rabbit" and ended with "White Lines" would be wise to pick up the first and best volume in the German Trikont label's excellent Flashbacks series - compiling 25 jazz, blues, and vocal cuts from the first-half of the 20th century, the set documents World War II-era vice and sin at its finest, deftly mixing radio hits with utter obscurities. The songs range from the benign (Gene Krupa's "Feeling High and Happy") to the explicit (the Memphis Jug Band's "Cocaine Habit Blues"), and while some of the selections are clearly reaching to justify their thematic inclusion - Bukka White's immortal "Fixin' to Die Blues" almost certainly has nothing to do with "fixing" in the junkie lexicon sense of the term -- the pacing and sequencing are dead-on, and even novelty throwaways like Harry "The Hipster" Gibson's "Who Put the Benzedrine in Mrs. Murphy's Ovaltine?" stand up to repeated listening in this context. Excellent remastering and liner notes (in both English and German) round out the package."
—Jason Ankeny

pop rock



"(...)It's really wonderful and relaxing, but not as minimalistic as its reference point (Brian Eno, in case you aren't familiar with ambient music). In fact, it doesn't actually sound much like it. There's even got some sparse bass and guitar playing on the first side, not unlike what you would expect to find on a (very) quiet Mogwai song anno 1998-ish. Overall this is really excellent ambient/drone stuff though, and considering these guys have been releasing stuff since the late 90s I'm a bit surprised I haven't come across them before. If you haven't either, make sure you give this a try."

1. Music For Spaceports 16:24
2. Très Cosmìque 13:31


Ambient 1: Music For Spaceports (2009)



"Pedro de Dios Barcelo, Carlos Jimena and Paco Luis Martos are cranking out screaming, ramshackle blues influenced by swamps, serpents and satan. In that order. Not just blues, but the kind of peeled-out, whacked-out riffs, licks and choogles that can fuel popular uprisings. Adding to the sinister mystique are the band’s videos and press shots, which look like something out of a snuff film. The blues can be boring in the wrong hands.
These guys will make you sweat a little."



"The Belgian band has released an album of gritty noise rock of international allure. For next to the obvious Cobain references the band has created a very versatile sound. Opening track 'When We Were Hookers' has one of those soaring riffs Made Out Of Babies would kill for, while 'Cozy Bleeders' on the other hand dishes out a druggy psychedelic trip. The production is raw, but fits the music, and gives the record an obscure, non-commercial edge that adds to the credibility of these manic rockers. (...) The band does prove to have established a solid base from which to start a nice underground career though. I am certain this rips live. Earplugs mandatory."
Lords of Metal

stoner rock




"The term shoegazer is synonymous with My Bloody Valentine, and even more specifically with the album Isn't Anything and their powerful follow-up Loveless. If one had to name the next thing that comes to mind when hearing the word shoegazer it would probably be Slowdive's Souvlaki. The albums Loveless and Souvlaki are usually considered the two-headed monster within the genre. There is, however, a third album, released a full year before Loveless and 3 years before Souvlaki, that arguably holds a claim to the first truly great shoegazer album. Imagine a less abrasive and more laid back Loveless, and you have Ride's Nowhere."
—Scott Herren, SputnikMusic

alternative rock

Nowhere (1990)