The band pushes further into death and atmospheric post-metal with near perfect musicianship.

The novelty of RKTKN #1 and #2 has worn off. The kids who thought singing in a made-up language was cool are all grown up. Raketkanon should have grown up with them.

Plight combines the slow moodiness of early postrock/mathrock bands like Slint and Tortoise with restrained midrange vocals of bands like the Church or Interpol.

Autoscopy is a great complement to lighting up a fat one, grabbing a folding seat and some rain gear, and sitting outside during a hurricane.

Remember Mr. Bungle? Remember that confusion the music instilled? You were never sure whether you should laugh, cry or just stick knives in your eyes and get it all over. That’s what this album has.

That New York vibe is very much a part of the band’s sound/feel. It’s brutal, harsh, uncaring, but also very smart and somewhat irreverent.

If you smashed together the heavy bass riffs or Godflesh with the detached ambience of Boards of Canada, Sunset Wrecks’ False Patterns is what you get.

The musicianship is super tight, and the songs have lots of quick changes and breaks. There is minor regard for traditional song structures, so some sort of verses and choruses, but ultimately a natural flow to the music. Think Chon, Battles, Don Caballero etc. The vocals, however, add an almost pop quality.

Tim Porter caught up with Wrong frontman (and Torche bassist) Eric Hernandez about Wrong’s excellent sophomore full-length record, released in April through Relapse Records.

The journey alternates between subtle and incremental pads shifting slowly like tectonic plates and the melodic sound matter on top, some of which is intimate and friendly, some caustic, distant, dangerous.

They play a style of metal that is harsh, angular and meticulously precise. Their songs are short, succinct, eruptions of energy often noted by odd time signatures and barking staccato vocal delivery while at the same time maintaining some modicum of mass market radio sensibility and a surprising emotional punch.

You know that “Chill Grooves” station you have in your Pandora profile? Well if there was a sub-room filled with smoke and even more relaxed babes, that’s where Cosmal lives.

The Space Merchants’ Kiss the Dirt straddles the stuff you like about psych, blues, acid and 70’s era hard rock, all the stuff your dad still listens to, while retaining modern era sound and complexity.

If I mistake one of their songs for a Sleep song, you know that shit is aaaaaal right.

The thing I like most about the band and especially about Bad Weeds Never Die, is the music is exciting, energetic, and fun, but retains metal heaviness. You kind of get it all, here, a one stop shop.

We managed to catch up with the members of Low Estate, a supergroup made up of Brendan Tobin (Red Sparowes, Made Out of Babies), Jimmy Hubbard, Geoff Garlock (This is Year One), and Chris Todd (Sannhet).

The band has one job to do: to crush. Sure, there are one or two moments of melody on the album, but they only exist to lull the listener into a feeling of security so to be crushed again. Crushed and smashed.

We caught up with Matt Weed of Rosetta recently as the band embarks on a US tour to support their latest album Utopioid. The album is amazing and well worth purchasing! But we don’t stop there. We talk about how the band writes, records, and what it’s like being fully independent of a label.

Utopioid is the best work the band has produced since its debut in 2005. This album will be on a lot of people’s top ten at the end of the year. It’s fantastic.

This is stoner rock as Satan designed it. This is the stoner rock your droids are looking for.

The band’s noisy transitions from one theme to the next and the way themes build and ebb are the perfect complement for a dime bag, delivered pizza and hours on a couch contemplating random shit.