Doug Mosurock
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In 1991, the Tokyo Flashback comp introduced the world to Japanese psychedelic music. Experience the whammy-bar wizardry of White Heaven's "Blind Promise" from a new reissue.
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The six-piece band made the trip from Adelaide to Anacortes, Washington to record its new album, a tumble down the jangle of post-punk.
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From the Italian death-rock band's concept album about resistance fighters during WWII, "Al di fuori del male" ("Outside Of Evil") represents Contravveleno at its most strident.
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On its far-reaching, synth-strewn new album, a playful sense of retro-futurism underscores the Vancouver band's heavy tone of doom and despair.
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On Prosthesis, bandleader Mark Ryan indulges some of his obsessions: vaguely sci-fi-influenced, tightly wound rock 'n' roll, set off by dual drummers and portentous electronics.
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Carrying on the non-stop activity of the last eight years, the prolific rocker's 10th solo album feels as fractured and delirious as anything he's recorded.
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Always provocative, the band jettisons post-punk thrash in favor of a sturdier Top 40 pop sound that recalls the early to mid-'80s.
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The duo takes a few steps toward modernity on Fantasy Empire, which finds Lightning Bolt moving away from congested, low-fidelity sounds in the pursuit of studio clarity.
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In the wake of Sonic Youth's collapse, Moore's new solo album is almost calming in its familiarity, particularly as it recalls a minor-key update of SY's well-loved late-'90s salvo A Thousand Leaves.
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It's a shame that the rock record of the summer had to surface at the end of the season. Segall's lush, panoramic double-album piles on glam-rock excess without ever feeling excessive.