Sonic maturity is not always reached by further augmenting one’s sound. It can also arrive when the artist understands what is important. What it is at the core of the project that makes it unique. Mark Nelson has taken such a journey with his project, Pan•American. In the early days, Pan•American relished the experimentalism of drone music, the ethereal quality of post-rock, and the subtlety of electronica. This combination resulted in a series of excellent works, with the self-titled debut and Quiet City standing out in particular. At the time, everything was fair game for Nelson. Ambient music breathed in a minimal spirit, glitch contortions provided an extravagance to the proceedings. And yet, beneath all these different genres and twists, there was something else that defined Pan•American. At the center of it all stands the solitary guitar, in its simple, stripped-down form. Nelson first introduced this approach to his sound with the 2017 full-length A Son. Stepping away from the deep experimentalism of his earlier works, Nelson instead drove Pan•American into a scenery seemingly taken out of Wim Wenders’ Paris, Texas. It is at this same location that we now find him with The Patience Fader. “Swimming In A Western … Read more
Hunter Martinez is a scene vet, playing drums and/or guitar with Decent Criminal, Dwarves, and Slaughterboys, among others. In Human … Read more
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The classically trained Ian William Craig released in 2016 one of the best experimental works of the year in Centres. Applying ample processing to his vocals, in effect enhancing the performance, he created an adventurous record without tempering with the underlying emotion. Today he returns with Slow Vessels, a long EP, which extends the concepts of Centres in a very unexpected manner. Slow Vessels does not present new material, rather acting as an expansion of Centres, with semi-acoustic renditions of the previous skin. Even though this is not a completely unplugged environment, the music has been significantly stripped of its previous skin, unveiling an unprocessed point of origin. The DIY approach taken by Craig also speaks about this return to the core of his music, recording the whole album with … Read more
The first time I ran into Mire was about two years ago. I was looking for stuff that was at least somewhat adjacent to Gojira and a friend recommended Mire. At the time the band had an EP titled Shed which was released in 2018. For whatever reason, it seems that (mostly) all traces of it were scraped and there … Read more
This is the second album from Polish death/doom metallers Death Has Spoken who formed in 2017. Taking inspiration musically from bands such as Paradise Lost, Swallow The Sun, Hallatar and My Dying Bride to name but a few this 7 track album gives us just over 40 minutes of dark, melodic doom metal. I've got to hand it to these … Read more
I’ve had a range of thoughts about this record as I’ve played it on repeat in recent weeks. At first it didn’t really hit me -- it felt too repetitive and didn’t really jump out from the pack. But that changed as I kept coming back. While circle pit hardcore is well established at this point, Sweat’s Gotta Give It … Read more
Last year was definitely a great year for metal. Probably the best year for metal in the past like ten or fifteen years. So great in fact, that I’m still trying to catch up with albums I didn’t get to either listen to or review. I actually had to make a spreadsheet for tracking purposes, imagine that, hahaha! Anyway, I … Read more
Rancid’s 1990s catalog is a unique beast. It’s Clash-influenced street punk. On paper it sounds highly derivative, but its heart always shined through making it stand out in a hard to quantify way. Tim Armstrong’s songwriting is the foundation, but it’s his one-of-a-kind drawl paired with Lars Frederiksen’s vocal tradeoffs that makes it shine. It’s also why I was leery … Read more
Bulletproof started out as a band in 2017, playing the underground bar scene in their native Argentina. After a while of playing bar shows Bulletproof started playing with a youth organisation called Speed Metal Army who organise metal shows for the masses over a whole range of metal styles across the country. Polish based Ossuary Records picked up the band … Read more
I’m always up and ready for some good prog, especially when we’re looking at a concept piece. I’m tempted to say something along the lines of ‘they don’t make’em like they used to’, but we’re talking about music, not audiophile grade consumer electronics so that doesn’t ring true. It’s just that these days you have to dig further and deeper … Read more
Returning readers might have noticed I like to be able to hear the bass guitar. It is an instrument that is too often a victim of a less than stellar production. French band //LESS are here to my aid. Their trick is simple and effective: instead of the more regular trio of drums, bass and guitar they opt to leave … Read more
1966 saw the first incarnation of Velvet Underground serenaded by the deep alto wails of Nico and resulting in more of a performative shock value prank than a musical act. From the get go it was clear that what Nico brought to the table fundamentally altered the DNA of Velvet Underground and added an idiosyncratic melange of melancholy, gloomy glamour … Read more
I remember discovering Persefone, and their, then, newest album, Spiritual Migration. It was an insanely hot summer day in the shitty college dorms I was staying in. I was digging for progressive metal around on Metal Archives and YouTube. Out of nowhere this video for Spiritual Migration pops in the recommendations. It all seemed alluring so I went for it. … Read more
It’s a tough to summarize Forever Unclean in a neat little genre-name. It’s punk rock, but with elements of ‘90s alt rock, screamo and more. It’s short and concise, energetic and uplifting, yet unpredictable and far more complex than your average 3-chord beentheredonethat. The music is driving but varied: guitar-driven with sing-shouted vocals and lots of surprising-but-not-jarring shifts along the … Read more
There is no question that Burial is one of the pivotal artists of the current era. The electronic musician from London has taken on a transformative journey through the landscape of post-dance music. Techno beats, garage sensibilities, early dubstep notions and far out ambient leanings are melted together through a unique kaleidoscopic vision. It is an evolution that has occurred … Read more
I doubted about reviewing this, but decided to do so anyway. I doubted about it as this is a re-release and I don’t want to make a habit out of reviewing those. This leads to an interesting time-line: this album is recorded in 2017, released on vinyl in 2019 and re-released on tape in 2021. And in 2022 I finally … Read more
I only paid any attention to the news that there’s a new band called Kataan, coming with a self-titled debut EP only because of their connection to Astronoid. Kataan is a duo comprised of Brett Boland (Astronoid vocalist and rhythm guitarist) and Nicholas Thornbury (former vocalist and guitarist for Vattnet). Having a lot of love for Astronoid I decided to … Read more
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