Mephistofeles: “An ode to terror, fear of the living”
Doooooooooooommmmmmmmmmmm *gasps* Dooooooooooooommmmmm
Just in time for Halloween too, check out great sluggish doom metal via Mephistofeles.
“Founded in 2010, has recorded 3 demo raw tapes (one as a one-man-band, and two others as a band). In May 2016 released the first full-lenght album called “Whore” which has been already edited in cassette (by Catarata Records, Pirámide Records, Golden Dawn Recordings) and CD format (by Black Noise Records). Soon on vinyl too via Black Farm Records. (An early 2017 production). Actually, the band finds itself mixing a second long play for mid-2017.”
Bagual: Hard Desert Rock from Chile
Sometimes all you need are riffs. Bagual has plenty of riffs, and they sound like they’ve been hanging out in the desert with Queens of the Stone Age. Check out more music via South American Sludge Records.
Ghetto Kumbé: Afro-Caribbean meets Afro House
As New York enters October and actual, no-actually-this-is-it Fall, I’m already looking ahead at next summer. Ghetto Kumbé is partly to blame, with its upbeat grooves and its insistence to enjoy life and get up and dance. Soy Selva is out October 16th.
From Galletas Calientes Records:
“Ghetto Kumbé is a three-man Afro-Colombian band fusing the Afro-Caribbean roots of Colombia with the hypnotic power of African house beats.
“Soy Selva” (translated as “I’m Jungle”), produced with London native producer The Busy Twist, is about the ancient people of Colombia, their traditions, their relations with mother nature, universal respect and ritual dancing. With the additional featuring of Ghanaian singer Zongo Abongo on “Dagbani Dance”, things have definitely come full circle for this new EP, involving three continents in this innovative musical adventure.”
Los Amos del Universo: experimental neo-psychedelia from Peru
So this is what a late ’60s dance party inside a burning rocket ship crashing into earth sounds like. Los Amos del Universo takes Krautrock and meshes it with Jimi Hendrix-like guitars into something overwhelming and chaotic and beautiful.
Peru’s Superspace Records is home to Universo and other great bands taking on neo-psychedelia and making it exciting and relevant rather than rehashing it like your older brother’s college roommate. The label is also home to techno house, glitch, acid rock, indietronica, and other genres your older brother’s college roommate ruined for you but Superspace will redeem for you.
“The masters of the universe corresponds to a desire to pay homage to the krautrock of the 70’s, it is also the result of the reunion of its members, which presents an evolution of its members in the creative field. The masters of the universe was born and was born in the town of Belloto Norte, commune of Quilpué, Chile during the month of January 2017.”
Les Mentettes: “Buenos Aires Stereo Sound”
Be right back, gonna get my groove on and break-dance in a cool Reebok commercial that’s playing Les Mentettes‘ killer synth-pop. I can’t actually break-dance, but the Argentinian group makes me feel just hip enough that I can do anything.
“Les Mentettes makes dreamy indie pop studded with off-beat instruments, catchy yet haunting hooks and a style that both nods to and transcends their influences. Led by singers Adrián Rivoira and Eugenia Brusa, the Argentinian band has deep roots. The two started out playing together as kids, performing at school concerts in the early 90s. Coming from very different musical backgrounds, the Rivoira and Brusa as well as their bandmates have a myriad of influences that range from Ziggy Stardust to Nina Simone and Brian Wilson.
In 2008, they formed [and] released their first full-length album, Let’s Mentettes. The following year, music conductor Manuloop arranged their songs for orchestra. They recorded [Orchestra] with over thirty musicians, bringing a variety of instruments to the group’s sound, including, trombone, oboe and glockenspiel. In 2011, the band, now a hybrid of rock band and orchestra, released their third album, Song for an Imaginary Film. Their latest EP release, Bouh!, is a return to their sparkling indie-pop roots. Whether playing with an orchestra or not, [they] exudes warmth and a beguiling playfulness.”
Makoto Kino: Mexican experimental artist layers melodies and repetitive drones
I can’t look away – from the steadily flashing lights, the mysterious purple room that could be The Black Lodge, to the collage of random assortments of pedals and instruments and cherished (or discarded) anime trinkets. It’s all stunning. In the center is Mexican experimental artist Makoto Kino layering melodies and repetitive drones and turning the room into a fortress of sound. It’s like she’s trying to bring the Loveless album cover to life at 2 a.m. while everyone is still asleep and dreaming. It’s almost otherworldly, and it’s quite beautiful.
Kino’s album is out now on Bandcamp. More information can be found here.
Meridian Brothers: “Futuristic Tropicalism” from Colombia
At first, Meridian Brothers’ psych-folk might sound kitschy and novel, especially to someone unfamiliar with one of Bogotá’s most beloved avant-garde acts. Perhaps as kitschy and novel as the album cover shown above. But there’s an urgency throughout the excellent ¿Dónde Estás María? – listen closely and you’ll hear the same fuzzy, driving grooves that you hear in your favorite Vampire Weekend songs. It might be weird, but you can’t say it’s lazy or not well written. And this band has been doing tropicalia longer, and better, than any late ’00s indie band still trying to be relevant.
¿Dónde Estás María? will be released on September 8th.
“The boundary-pushing Colombian group returns to Soundway Records with another unique album: dreamy psych-folk, blending traditional Latin rock with tropicalia, and lush string and choral arrangements.
Meridian Brothers’ sound is a huge palette of influences and inspirations. Drawing from traditional Latin rock (including Colombian, Argentinian and Mexican) as well as Brazilian tropicalia, for this album Alvarez incorporates string instruments – in particular the cello, both bowed and plucked – a timbre rarely used in his previous works.”
RAKTA: experimental all-female post-punk from Sao Paulo
For those who are familiar with the new waves of raw post-punk, RAKTA shouldn’t be a surprise. For those who aren’t, they could be a good starting point. As a matter of fact, it’s hard to define whether this all-female band from São Paulo in Brazil really belongs to any actual current wave, but categorizing them is certainly not a priority anyway. Like they claimed on an interview with CVLT Nation, “we are not attached to any [genre], and this is what we are trying to advocate.”
One of the most impressive features about RAKTA is the primitive nonchalance with which they go from horror soundtrack sounding synths and mystical intertwined vocals that repeat echoed hex mantras to walls of oppressive percussion that stand in obdurate opposition to the seductiveness of the most popular rhythms coming from their homeland. Their music belongs to a dark ritualism that isn’t traceable to any genre-related framework, and that often flows into a devilish and fascinating tableau resounding with noise, drone, and even electronic music.
Even when their experimental fury shatters common post-punk structures, though, there’s always a certain hypnotic feeling that allows the listener to remain focused and attracted to their sound. Over the course of a six-year long career, the band improved their formula with each release – most of them being cohesive EPs with powerful and defined aesthetics – and reached their peak with III. On the album, released by Iron Lung Records in the States, five long songs create a sonic universe that is truly unique in today’s music world and which perfectly represents what RAKTA are about.