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Here are some of my recommendations:
Read my review here.
Read my review here.
Read my review here.
Watch it a second time, or seven times like me, and really pay attention to what they’re saying. It’s very educational.
You’re welcome!
In the hazy crossroads of ’70s heavy blues and modern stoner grit, Germany’s Paralyzed bellow back with Rumble&Roar, their third full-length and Ripple Music debut. Released on May 9, 2025, this nine-track beast clocks in at just over 41 minutes, but it hits like a freight train derailed in a dust storm. Formed in Bamberg in 2019, the quartet—Michael Binder on vocals and lead guitar, Caterina Böhner on organ and rhythm guitar, Philipp Engelbrecht on bass, and Florian Thiele on drums—channels the ghosts of Led Zeppelin, Black Sabbath, and The Doors into something raw, infectious, and unapologetically alive.
In the churning underbelly of Los Angeles’ DIY scene, Agriculture—Dan Meyer (guitar/vocals), Leah B. Levinson (bass/vocals), Richard Chowenhill (guitar), and Kern Haug (drums)—deliver their sophomore salvo, The Spiritual Sound, on October 3, 2025, via The Flenser.
This isn’t black metal’s usual frostbitten nihilism; it’s a fervent, queer-inflected blackgaze ritual that fuses dissonant riffs, shoegaze haze, and post-hardcore propulsion into a demand for presence. Drawing from Zen Buddhism, queer/AIDS literature, and the raw poetry of daily survival—gas station epiphanies, tour-van confessions—the album arcs from Side A’s sky-rending catharsis to Side B’s devotional simmer, a unified grammar of spirit in the profane.
Daisy the Great‘s The Rubber Teeth Talk, released on June 27, 2025, via S-Curve Records, marks a bold evolution for the NYC-based duo of Mina Walker and Kelley Dugan. Produced by Catherine Marks (known for her work with boygenius and St. Vincent), this 11-track album transforms post-tour introspection into a kaleidoscopic journey through the subconscious. Drawing from distorted dream logic, it blends indie pop’s whimsy with raw emotional excavation, creating a space where grief, desire, and absurdity coexist. Backed by bandmates Bernardo Ochoa and Matti Dunietz, the record feels like a theatrical diary entry—playful yet piercing, theatrical yet intimate.