Electric Wurms features Steven Drozd and Wayne Coyne switching roles with Drozd on lead vocals (among other things) and Coyne playing bass, while members of Nashville psychedelic/experimental group Linear Downfall round out the group. Throughout Musik, die Schwer zu Twerk (which is Google translation of "music, that's hard to twerk to" in German), Drozd and company write songs similar to the Flaming Lips style of noisy psych rock but with more krautrock and progressive rock influences.
Album Reviews
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 The Great Wall’s sound is more like Intronaut-meets-mathcore with a few electronic elements thrown in for good measure, but with vocals that are almost crooned. The end result is a heavily textured take on alt-metal that’s both proggy and accessible. On paper it might seem a bit incongruous, but in practice it’s pretty damn wonderful. It’s also not really like anything I’ve ever heard before, which is saying something. |
 How best to describe Trioscapes? The trio, which is rounded out by tenor saxman/flautist Walter Fancourt and drummer Matt Lynch, are first and foremost a jazz combo, and they lean more toward the Miles Davis end of the spectrum than the Mahavishnu Orchestra end. Album opener “Digital Dream Sequence” and “Hysteria” both have some really nice hard bop moments interspersed with some seriously heavy fuzz bass. “From Earth to Moon” brings to mind Rashaan Roland Kirk with its flute and what sounds like a marimba sections. The highlight of the album, though, is the 15+ minute closing track “The Jungle,” which builds from gentle electronic percussion and an intricately tapped bass line into a full-on free/fusion freak-out and then back out again, with a particularly nice bass solo roughly halfway through the song. |
 After reading about three acoustic interludes on Agalloch’s The Serpent & The Sphere being written by a Canadian songwriter in a band called Musk Ox, I immediately found a Bandcamp page for an instrumental band from Toronto called MuskOx. |
 You've probably never heard of this surprisingly good one-man project called Prevenge because the band still hasn't suffered the mythical "big break" yet. This is hardly surprising given that Prevenge makes music just for the sake of making music. What I've heard previously from Prevenge consists of not-so-weird post metal and black metal. Although the black metal side is stronger on Paramnesia, Max Reff is still feeding his music with artistic nourishment and the album deviates enough from the black metal path not to make this another generic, useless record. |
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