Pulling elements from industrial music and dark techno, these sounds are deconstructed down to their base elements and reformed to create highly textured beats and an atmosphere of unrestrained chaos.

Gossamer synths and hazy samples set an ephemeral tone, as hypnotic looping tracks paired with washed-out vocals create a sense of disorientation that only immerses the listener deeper into this world.

With angular synth riffs and steady, resonating percussion, the high energy coldwave instrumentation is paired with emotive shouting vocals to deliver the sound of frustrated EBM.

Shadows from the Walls of Death recounts the process of learning that the Victorian era’s beloved ornate wallpapers actually contained debilitating levels of arsenic. Throughout the record, the experimental duo puts us in the shoes of Icarus as he feels his wingtips get grazed by the sun, crystallizing the feeling that at some point everything extraordinary and beautiful eventually starts doing more harm than good.

No matter how much diversity Princess Thailand serves up in their style, each moment still exists mainly to raise our blood pressure and give a voice to our directionless anger.

Each sound gets treated to its own acoustic space, resulting in a mosaic that blends together into the type of strange image that we experience with our senses at all times.

Throughout the record, the expert sound design inherent in the drone metal tradition helps mold the artistic direction, both when the band meditates on sparse chords and when they’re tightly executing whiplash-inducing mathcore segments.

Deep in the shadows cast by lo-fi crunch, accessible, catchy indie rock songs morph into something much more sinister, something more emblematic of severe depression than of winter melancholia.

With a heart-wrenching atmosphere and expressive lyrics portraying each victim’s final moments, this mournful release is a must-listen for fans of DSBM.

Songwriting from the garage rock revival and production from the lo-fi era join forces to create Busy with People by Zoos of Berlin, a deep, brooding indie record that stacks layers of distortion upon their pop sensibilities.

Seeing this subconscious rhythm externalized inspires us to listen even when the music stops, to find ways of remaining in tune with the world when there’s no drum in our ear to keep us in line.

Immediately, the infusion of indie rock songwriting sensibilities shakes the straightforward dance tropes out of the Darkwave sound, and from there the band introduces dashes of noise tones and jazz chords to encourage a further departure from the worlds of both indie and darkwave.

Expert sound design of this caliber means hours getting poured into each instrument, tirelessly ensuring that everything works well together and stands alone as a sonic object.

On paper, the NIMB and the Feedback Machine seem like the perfect tools to create impenetrable walls of harsh noise and heavy distortion, but Nakamura and Myers coax subdued tones and delicate melodies from their instruments.

These constant interruptions to the album’s flow follow the contours of Gardner’s father’s journal entries, capturing the paranoia of someone aware that they’re in danger but completely unable to comprehend why and to what degree.

Cinematic in scale, these tracks convey a sense of complex interiority and contemplation, setting a ritualistic atmosphere that is better suited to inducing flow states than letting loose on the dance floor.

Wringing out each idea to the maximum, Flemish School builds each rhythmic pattern into a full musical movement, resulting in these devastatingly heavy riffs that propel the esoteric, depressive lyrics forward.

With excerpts from famous writers, personal writing from the artist herself, ethnographic studies, voice memos, photography, and more, the project is a true experiment in sound collage.

The dark, angular, abrasive bones of post rock have once again surfaced after decades of being subdued by indie crescendocore, greeting our doomed moment in history with its off-putting embrace.

Overtones and restrained ornamentation build energy pleasantly, adding depth while the project hones in on GRETA’s gentle, reassuring vocals. Fans of GEORGIA will appreciate Portals’s pop-skewed Braindance that occasionally leans towards a new age Enya-esque sound.