A year ago, I couldn’t predict where I’d be at now. I decided to move back to the United States after living a little over a decade abroad (with some breaks here and there — once for grad school) and transition to a new profession. I gave myself six months and, lo and behold, here I am still a year later. Although my pockets aren’t quite as deep as they once were (living in the United States is EX-PEN-SIVE, y’all), I’m overall very content with both major life decisions, but I would be lying if I said I predicted that I would be.
There are also a number of heavy music trends that I couldn’t have predicted a year ago. Nu-metal is back. The generic-ass 90s hardcore revival is in full swing (but is now much more inclusive, which is good to see!). Discordance Axis is still broken up and Gridlink broke up once again (there weren’t any New York Times articles for those latter two, which is a goddamn travesty).
Look, despite being Judge Dredd, I don’t make the rules and I can’t even enforce the rules that already exist. And, apparently, I can’t predict for shit. But what I do know is that this year was absolutely stacked toward the end of the third quarter and the beginning of the fourth quarter.
I remember reading Wolf Rambatz’s breakdown of when the most releases are put out each year, and now I’m a firm believer in the power of October (and September) releases. Metal Stats’ bar graph also supports this, and he breaks it down further by showing that Halloween is the day when most metal albums are released annually by far. As I’m starting to write this in early November, I feel like I’m still catching up with releases from September and October while already being overwhelmed by November releases.
I know writers tend to say this every year, but I can’t remember another year in recent memory when there were this many noteworthy releases, and that includes consistently good legacy acts and heavy-hitting young bucks. Hell, it wasn’t until early November that I remembered that Immortal put out a release earlier this year after having only listened to it once upon its release in May. Why the Blizzard Beasts themselves did not release War Against All in winter is beyond me!
For my weird, somewhat narrow tastes that lean toward the avant-garde/experimental and many things “core” and most things “core”-influenced, there was a feast of releases to whet my appetite. But even with genres that I’m not a massive fan of, such as death metal, September and October were absolutely jam-packed months with releases from Tomb Mold, Cannibal Corpse, Blood Incantation, Dying Fetus, Baring Teeth, and the criminally underrated Fabricant just to name a few.
Whatever your taste in metal, the ever-increasing access to worldwide metal (including some releases that are influenced by nu-metal but are actually good) from the comfort of our homes (or wherever we are) is a godsend in some ways and is completely overwhelming in other ways. According to my last.fm account, I listened to nearly 4,500 albums this year (although, I wonder how many songs from an album I would need to listen to for the album to be counted) and over 21,000 songs. And I still feel like I didn’t give enough time to several albums below, as well as albums not even listed below, that deserved more of my attention. Of those 4,500 albums, below are 10 that I didn’t necessarily give more of my attention to than others, but they are the 10 that stuck with me the most.
Metal
10. King Gizzard & The Lizard Wizard – PetroDragonic Apocalypse; or, Dawn of Eternal Night: An Annihilation of Planet Earth and the Beginning of Merciless Damnation
While I was a DJ at Malicious Intent on KJHK 90.7 FM from 2015 to 2017, King Gizzard & The Lizard Wizard (KG&LW) were the then-current darlings of hipster credibility. So, although I know now it was unfair and narrow-minded of me, I dismissed them out of hand. I gave 2019’s metal-exploring Infest the Rats’ Nest a cursory chance upon its release, but it really did sound like a non-metal band attempting to play metal, which translates to basic bastard High on Fire and Motörhead worship. It wasn’t until 2023 with the release of the mouthful-titled PetroDragonic Apocalypse; or, Dawn of Eternal Night: An Annihilation of Planet Earth and the Beginning of Merciless Damnation that I came to realize two things: 1. I actually really love KG&LW now and 2. This is one of the best metal albums of the year, full stop.
You see, in the intervening years between 2019 and 2023, and even between 2017 and 2023, I have gotten into super weirdo psychedelic music. From acid-inspired improvisational jams to droning krautrock to cut-and-paste Dada noise rock. So, once I gave PetroDragonic Apocalypse… a listen after seeing numerous recommendations from fellow metalheads on social media, I decided I needed to give it a chance. After being thoroughly impressed with the album, I started exploring KG&LW‘s discography in earnest. It’s incredible that a band can be so prolific while putting out such consistently solid material.
But back to PetroDragonic Apocalypse…
While the High on Fire and Motörhead influences are still transparent, KG&LW added a healthy amount of progressive rock (by way of Tool‘s influence) into the album’s sound. As a result, the tracks on PetroDragonic Apocalypse… weave in and out of different time signatures, and the songs flow effortlessly despite the added layers of complexity. And that’s perhaps the best aspect of the album: KG&LW has taken their preternatural predilection for writing epic, expertly crafted psychedelic songs, and applied it to a metal framework.
While KG&LW‘s metal explorations may still be a form of playful imitation or reverent tribute (or both), PetroDragonic Apocalypse… is a fantastic metal journey regardless.
9. Behold the Arctopus – Interstellar Overtrove
It’s metal, Jim, but not as we know it. Behold the Arctopus announced their newest full-length just four days before its release with a somewhat cryptic post that included a graphic with four succinct, corresponding statements:
- no distortion
- no amps
- no drum kit
- no keyboards
The assumption, which proved correct, was that this was communicating the minimalist approach to equipment and effects that the new album would take. Sure enough, Interstellar Overtrove contains barely any distorted guitars, which removes one of the aesthetic mainstays of metal music. Since there were no amps used on the album, one can only assume that Mike Lerner’s guitars and Colin Marston’s infamous Warr Guitar were recorded DI (direct in). The guitars nonetheless retain Behold the Arctopus‘ usual string gymnastics while Jason Bauers’ drums sound overwhelmingly electronic as they skip and skitter about in a seemingly randomized way.
This approach has a couple of important implications. First, the album simply sounds like no other “metal” album currently in existence (to my knowledge, at least). @gorn described the album as “the real crabcore” because “it sounds like crabs scurrying across a boardwalk”. I would add, “…during a vivid sunset” as Behold the Arctopus includes a fair share of their trademark ethereal 80s King Crimson-esque polyrhythmic guitar interplay. Second, it is extremely difficult to determine how much of the material on the album is improvised. At times, it feel as though Bauers just improvised the electronic drums in a way that was unbound from any notion of measures or tempo, and Marston and Lerner just responded in kind while recording their own instruments on top of Bauers’. At other points, when the guitars are interweaving with one another and interacting in lockstep with a drum pattern, it seems as though there was very detailed, intentional compositional work that was done.
Essentially, Interstellar Overtrove has flipped common tropes of metal on their head by disregarding both sonic and compositional characteristics typical of the genre at large. It feels like the album presents an entirely new approach to the genre that has gone unrecognized by the rest of the metal world. The whole album sounds otherworldly. There’s very little in the metal world that I would describe as truly sounding like it was crafted by aliens, perhaps the exception being something like Megafauna by Yoga, for example, but Interstellar Overtrove is another addition to those extraterrestrial scores.
If only more bands would take risks like this.
8. Pogavranjen – Ciao!
In the weirder corners of black metal lie bands influenced by Virus and Ved Buens Ende – bands that have pushed the boundaries of what could be considered black metal to the point where it is arguably no longer black metal. Pogavranjen, on their officially announced final album and first album in seven years, is another black metal band that has taken this creative sidestep. Whereas their last full-length, Jedva Čekam Da Nikad Ne Umrem, hinted at the aforementioned influences creeping in, Ciao! seems like the logical conclusion after several more unaccounted-for steps along that path. To really hit the point home, the band wrote “Pogavranjen is not a black metal band, nor true in any way” on the Bandcamp page for last year’s EP Zvjerski Pokreti.
On Ciao!, there are no blastbeats. There is no tremolo picking. There is no funereal atmosphere. Vocally, there is not one shriek or croak found throughout the entire 45-minute running time. The style of Joe Ferrara, the hired-gun vocalist for Ciao!, is more reminiscent of Mike Patton or Kvohst rather than Gaahl or Abbath (sidenote: I highly recommend checking out Ferrara’s band The Andretti‘s album Suicide, Italian Style if you’re into Mr. Bungle-esque avant-garde rock). Instead, the listener is treated to an album that clearly has a foundation in black metal but wants to take the listener in directions that, as I mentioned in my write-up for the album in Heavy Blog is Heavy, defy expectations and strict genre norms of black metal as true avant-garde music should:
Ciao!, on the other hand, finds the band casting off the chains of black metal tropes almost entirely. Instead, what the listener will find is a woozy, off-kilter experimental rock with hints of the dissonant black metal that used to dominate the band’s sound.
– JD (Kvlt Kolvmn, September 2023, Heavy Blog is Heavy)
Black metal needs more weirdos like Pogavranjen. Ciao, weirdos!
7. Akersborg – Feelantropicoco
Since Feelantropicoco came out mid-November, I have listened to it many, many times, but I still feel as though it’s not marinated in my mind enough to where I’d be able to actually describe its eclectic and innovative power for the purposes of this year-end list. Sure, there is a firm foundation of Swedish hardcore with clear nods to Mr. Bungle‘s genre-hopping ADHD, Refused‘s manic new shape of punk, and the Dillinger Escape Plan‘s anxious calculations toward infinity. But even with those points of reference, you’re only starting to identify the basic sounds captured by Akersborg on Feelantropicoco. There is a lot going on on this album, and there is also nothing else that sounds quite like it.
“Pit Reflections” is a great example. The song starts with a spoken first-person narrative in which the narrator describes his anachronistic hard-up situation against some buried metallic sounds. As the narrative continues, the metallic sounds gradually open up to reveal themselves to be a jagged rhythm into which the guitars and bass enter. There is a point in which it sounds like the track is skipping before the track explodes open into a one-second blastbeat and several seconds of the drummer hitting his snare and crash simultaneously. Later in the song is a brief Mr. Bungle-style “lounge” segment before the band finishes by repeating the same jagged rhythm that was heard at the beginning of the song. And again, that’s just one track.
Throughout the album, the band plays with country music, electronic music, and a bevy of other styles. But even when compared to bands who similarly genre-hop, Feelantropicoco just sounds strange. In some ways, it’s odder than Interstellar Overtrove by Behold the Arctopus (which I described to the best of my abilities above), but what makes Feelantropicoco is that there are so many parts that are very accessible coupled with segments that I’ve quite literally never heard any other band do.
6. Great Falls – Objects Without Pain
Objects Without Pain is Great Falls’ first full-length in five years, and it is quite possibly the most emotionally draining album anywhere on this post. Lyrically, the album focuses on the slow dissolution of Damian Johnston’s “decades-long” relationship. The grief, confusion, and cognitive dissonance that accompany such a fallout are on full display in the lyrics as Johnston wrestles with the life-changing experience. In “Trap Feeding”, he indulges in the idea of freedom of living on his own but is quickly unsure of that fantasy as the reality of financial and personal practicalities comes into view. To give voice to these agonies, Johnston’s voice is constantly being pushed to the limit as if he’s losing his voice with every word, every syllable.
Musically, there is so much that just sounds…wrong. And I mean that in the best possible way. The dissonance present in the guitars is not the same dissonance you find in many other bands overutilizing flat seconds and flat fifths. There is often just something more subtly off with the way that Great Falls uses dissonance, whether it’s bending into and out of a note or playing open strings against a chord that just doesn’t quite sound right. A perfect example of the latter is the 3:40 and 5:40 marks of “Old Words Worn Thin” in which the dissonance is not flagrant, but it nonetheless imbues a palpable feeling of unease.
I endured all of the above as I listened to Objects Without Pain several times in a row to do my due diligence as a reviewer for Heavy Blog is Heavy, but ooo boy, did I need a drink after that. Everything that I could possibly say about the emotional and mental agony on display on this album I wrote in Heavy Blog is Heavy:
When freedom means loneliness and belongings mean painful memories, the result is internal turmoil that can leave us paralyzed with anxiety and anguish. Whether through its moments of overt violence or unobtrusive subtlety, Objects without Pain is an exercise in withstanding that very paralysis with all of its emotional and mental torment in tow.
– JD (Rotten to the Core, October 2023, Heavy Blog is Heavy)
Great Falls has put out their magnum opus with Objects Without Pain, and I hope that they don’t make too many more magnum opuses because I’m not sure if I can emotionally handle it (I kid, I kid…kind of).
5. END – The Sin of Human Frailty
While the relentless pummeling of END‘s debut 2017 EP From the Unforgiving Arms of God struck a chugging chord with me, their 2020 debut LP Splinters from an Ever-Changing Face did not live up to the potential of the EP. Was it just more of the same? Were the songs not quite as good? I can’t be too sure, but what I do know is The Sin of Human Frailty more than makes up for whatever it was that I thought was lacking in Splinters from an Ever-Changing Face.
On The Sin of Human Frailty, supergroup END (most notably featuring Will Putney of Fit for an Autopsy and Brendan Murphy of Counterparts) inject a healthy amount of industrial into their combination of metalcore, grindcore, and hardcore. As I mentioned on my Heavy Blog is Heavy review of the album, The Sin of Human Frailty
…still very much falls within the combustible concoction of extreme music that the band has specialized in since its inception, the industrial elements add a cold, mechanical layer that has been missing from earlier releases. While “cold” and “mechanical” might sound like negative attributes when applied to most music, those elements serve to emphasize the nihilistic soundscape that is so vital to END’s musical identity.
– JD (Rotten to the Core, November 2023, Heavy Blog is Heavy)
A track such as “Thaw”, my personal favorite on the album, goes well beyond simply being “industrial metalcore” as the song includes a piano melody in both the intro and outro that doesn’t sound out of place. Granted, the piano is low in the mix, but I would have thought that an END song would include a piano, much less twice in the same song.
The sound of The Sin of Human Frailty opens up a wide creative path forward for END to traverse. And if they continue exploring this terrain, I think they are more than capable of becoming creative trailblazers in extreme music.
4. Rotten Sound – Apocalypse
In some ways, Rotten Sound is my favorite currently active grindcore band. There are others that may eventually take their place (looking at you, Bandit), but the reason why Rotten Sound still holds this place in my grindcore heart is because of how consistently good their output has been over their 30-year career. Apocalypse, the band’s 8th full-length album, is yet another release teeming with grindcore goodness. Despite original band members guitarist Mika Aalto and vocalist Keijo Niinimaa being 50 and 52 years old, respectively, they are still producing grindcore with the aggression and bravado (and speed!) of musicians half their age. Tracks such as “Renewables” are delivered at breakneck speeds. Most grindcore bands could only dream of doing as much coke as it would take for them to actually be able to achieve those same tempos. On the other hand, Rotten Sounds know how to strategically employ slower parts in tracks such as “Sharing”, which has one of the band’s most devastating breakdowns that they have ever produced.
While the band fell victim to the overly-produced drum sound that so many of their grindcore brethren have fallen victim to recently (see here and here), Apocalypse is yet another excellent chapter in Rotten Sound‘s history of aural grindcore violence.
3. Ex Everything – Slow Change Will Tear Us Apart
The band features one of Kowloon Walled City‘s guitarists Jon Howell, who played in a similarly sounding one-off post-hardcore band Less Art. Considering that the former released one of my top 10 albums of 2021 and the latter released one of my top 10 albums of 2017, I was fairly certain that Ex-Everything‘s debut would land similarly in my top 10. Slow Change Will Tear Us Apart didn’t arrive until relatively late in the year (but was still released during that crucial window I mentioned in the intro), but like clockwork, it quickly tore its way through the 4,000-some albums I had listened to by that time and took its place in my top five favorite albums this year.
As my tastes have changed over the years, I’ve gravitated toward bands that have some type of “-core” in their sound, whether that is grindcore such as Bandit, metalcore such as Counterparts, or post-hardcore such as California Cousins. Slow Change Will Tear Us Apart has so many elements that I’m drawn to in the latter: a twisted sense of melody that strikes a careful balance between melody and dissonance, intertwining guitar work, technical and rhythmic complexity without being overly complex, and, while “heaviness” is part of the equation, it’s not something that is overly relied upon.
Songs such as “Slow Cancellation of the Future” come off as being a little reminiscent of J. Robbins’ projects (Jawbox or Burning Airlines) in the way that Robbins has a knack for angular melodies and effortlessly fluid songs that have a foundation in punk and hardcore, but are so much more than what those genres generally have to offer. This is not to say that Ex-Everything is ripping off what (might be) their influences because their sense of melody and rhythm, as well as dirt and grime in their guitar tones, is immediately recognizable as being reminiscent of Howell’s style in Kowloon Walled City and Less Art.
Slow Change Will Tear Us Apart is easily my favorite post-hardcore album of the year, and it could be yours too!
2. Gridlink – Coronet Juniper
It was sealed in grindcore legend 30 years ago: anything with Jon Chang’s name on it will inevitably be gold. I consider his involvement in any grindcore project an automatic grindcore seal of approval, and Coronet Juniper is no exception. While I was initially put off by the brittle production of the first singles, which nearly threw off the entirety of my anticipation for the album, the quality of the album as a whole vastly overshadowed any criticisms I could have about its less-than-stellar mixing job. I did a write-up for the Coronet Juniper at Heavy Blog is Heavy, but I will provide a personal highlight from that review:
The band’s pensive melodic tendencies could be described as “autumnal”, evoking wistful reflection. But, considering the speed with which the songs on the album are delivered, one must imagine that deep reflection taking place while speeding 200 miles per hour down the highway as falling leaves rush by you in blurs of amber and russet.
– JD (Rotten to the Core, October 2023, Heavy Blog is Heavy)
That’s one thing that has always stood out to me about Jon Chang’s projects and why those projects have produced some of my favorite grindcore of the last quarter century: the way in which his bands have taken an extremely fast and aggressive form of music and injected sentimentality into it without sounding contrived or melodramatic. It’s an approach that is almost wholly owned by Chang and his brothers-in-grindcore.
Sadly, as mentioned in my intro, Chang broke up Gridlink once again immediately following their two back-to-back weekend shows at St. Vitus in New York. Of course, we all know Jon Chang has said something similar before but eventually returned to grace us with grindcore grandeur. Nonetheless, I will bid him adieu for now and say, “See you, grindcore cowboy.”
1. Bandit – Siege of Self
One of my favorite episodes that we’ve done on the Butt Metal Blast Cast (a podcast I do with fellow MI contributor Wulf, and our friends Professor Grindstein and the Inverted Cross-Examiner) with the Bandit vocalist, Gene Meyer. In that episode, we discussed Gene’s metaphysical, Theater of Tragedy-influenced approach to his utterly berzerk stage presence. I first bore witness to the insanity that is Bandit’s live performances at Obscene Extreme 2022 where Gene hit himself in the face with a microphone and his own fist, stripped down to his SpongeBob SquarePants underwear, jumped into the crowd to mosh with them, and then ended the set by puking on stage. That sort of intensity is very indicative of the sound of Siege of Self, the longstanding powerviolence-turned-grindcore band’s debut full-length.
Conceptually and lyrically, Siege of Self focuses on Gene’s struggles with mental health. The vivid imagery in his lyrics is full of broken but vivid imagery of violence and various other grotesqueries, and the music, performed by guitarist Jack McBride and Chepang drummer Gobinda Senchury, reflects that imagery with equally aggressive and constantly-shifting music. In tracks such as “Hoax”, the shortest song on the album at 40 seconds, Gene describes a “broken wine bottle” that “dances across the plains of his forearms” on a “dirty basement floor”. During the same track, McBride and Senchury engage in a complex dance that switches rapidly between different parts ranging from blastbeats to more straightforward 4/4 beats.
The band members’ respective performances are so intense, lyrically and technically, that it often feels like they are pushing themselves to the brink, and that is reflected in their live performances as well. And, as the listener, it feels like I’m standing on the brink with all three Bandit members looking down into the dark unknown of the recesses of the human mind.
While most of my other thoughts on Siege of Self can be found in my write-up on Heavy Blog is Heavy, I want to make it clear that this is not only one of the best grindcore I’ve heard all year but it’s also one of the best I’ve ever heard.
Honorable Mentions
Afsky – Om Hundrede År
Afterbirth – In But Not Of
Anachronism – Meanders
Aprilmist – Homesick
Autarkh – Emergent
Bedouin Temple – Bedouin Temple
Bergfried – Romantik II
Better Lovers – God Made Me an Animal
Bríi – Último Ancestral Comum
Capsule – Ferox
Chamber – A Love to Kill for
Chemtrailer – The Incomplete Guide to False Testimony
Chepang – Swatta
Closet Witch – Chiaroscuro
Cognizant – Inexorable Nature of Adversity
Crisis Sigil – God Cum Poltergeist
Cryptopsy – As Gomorrah Burns
Curta’n Wall – Siege Ubsessed!
Deliriant Nerve – Contaminated Conscience
Dripping Decay – Festering Grotesqueries
Dying Wish – Symptoms of Survival
Elitist – A Mirage of Grandeur
Endless Swarm – Manifested Forms
Envision – The Gods That Built Tomorrow
Exhumed – To The Dead
Fabricant – Drudge to the Thicket
Hellripper – Warlocks Grim & Withered Hags
Inculter – Morbid Origin
Iskandr – Spiritus Sylvestris
Karras – We Poison Their Young
KEN Mode – VOID
Laster – Andermans Mijne
Majesties – Vast Reaches Unclaimed
Marsh of Swans – Heartwood
Malokarpatan – Vertumnus Caesar
Myælin – Meditations on the Book of Law
Ontborg – Following the Steps of Damnation
Organ Dealer – The Weight of Being
Oromet – Oromet
Skourge – Torrential Torment
Snuffed On Sight – Smoke
Sonic Poison – Eruption
Soulkeeper – Holy Designer
Suffering Quota – Collide
Teeth – A Biblical Worship of Violence
They Watch Us From The Moon – Cosmic Chronicles, Act I: The Ascension
Tired Minds – The Body is a Burden
Trhä – rhejde qhaominvac tla aglhaonamëc
Trhä – av◊ëlajnt◊ë£ hinnem nihre
VAK – The Islands
Victory Over The Sun – Dance You Monster To My Soft Song!
Vosbúð – Heklugjá
Non-Metal
Overall Top 10 Non-Metal (in no order)
The Armed – Perfect Saviors
Body of Light – Bitter Reflection
Clearbody – Bend into a Blur
crushed – extra life
Hotline TNT – Cartwheel
Julie Byrne – The Greater Wings
Korine – Tear
Kelela – Raven
Narrow Head – Moments of Clarity
Vantana Row – FAT_ASS_PUSSY
Indie Rock/Emo/Pop-Punk/Post-Hardcore/Noise Rock
Beach Fossils – Bunny
Cloth – Secret Measure
Dream Complete – Always Somewhere
Facet – Facet
Half Empty Glasshouse – Restricted Repetitive Behavior: An Experiment in the Application of Classical 12-Tone Technique to Contemporary Post-Punk Composition
Hit Bargain – A DOG A DEER A SEAL
Koyo – Would You Miss It?
Luster – Dopamine Loop
Marbles – Humour
MSPAINT – Post-American
Naked Lungs – DOOMSCROLL
TDK – Nemesta
Thanks! I Hate It! – Lovers Lane
Rid of Me – Access to the Lonely
Speedy Ortiz – Rabbit Rabbit
Spllit – Infinite Hatch
Strange Ranger – Pure Music
Stuck – Freak Frequency
Turin Horse – Unsavory Impurities
Wednesday – Rat Saw God
Electronic
Andrea – Due in Color
Anthony Naples – Orbs
Art School Girlfriend – Soft Landing
Dario Zenker – Reflection
Doc Sleep – Birds (in my mind anyway)
Foans – Selected Classics
Jam City – Jam City Presents EFM
James Ivy – Everything Perfect
Jellypelt – 2127 Tanya
Kareem Ali – The Color of Sound
Last Nubian and Sweet Fruity Brunch – Babylon Shuffle
Malibu – Palaces of Pity (2022)
NAAVI – V
Pépe – Reclaim
Purelink – Signs
Purelink – To/Deep
Space Ghost – Endless Light
Rắn Cạp Đuôi – *1
Avant-Garde/Experimental/Other
a.P.A.t.T. – We
Album – Portrait De L’Artiste
Bernice – cruisin’
Cupid & Psyche – Romantic Music
Dutch Uncles – True Entertainment
Edena Gardens – Agar
Flesh Produce – Couch Slime IV
George Clanton – Ohh I Rap Ya
Greg Foat & Art Themen – Off-Piste
House of Harm – Playground
JeGong – The Complex Inbetween
Jessy Lanza – Love Hallucination
John Carroll Kirby – Blowout
Joseph Shabason – Welcome to Hell
Kamikaze Palm Tree – Mint Chip (2022)
Mandy, Indiana – I’ve seen a way
Maria BC – Spike Field
Medasin – Always in a Hurry
Meshell Ndegeocello – Omnichord Real Book
ML Buch – Suntub
Model/Actriz – Dogsbody
Ni – Fol Naïs
Pearl & The Oysters – Coast 2 Coast
Salamanda – In Parallel
Salami Rose Joe Louis – Akousmatikous
Setting – Shone a Rainbow Light On
Sven Wunder – Late Again
Sunwatchers – Music Is Victory Over Time
Tar Of – Confidence Freaks Me Out
U SCO – Catchin’ Heat