By LA Weekly
By Henry Rollins
By Weekly Photographers
By Shea Serrano
By Nate "Igor" Smith
By Dan Weiss
By Erica E. Phillips
By Kai Flanders
[Bureau B, available now]
If the Krautrock section in your music collection is stuck in the 1970s and you wanna know what happened to that sound post–Berlin Wall, post–Love Parade, post–"OMG we're all moving to Berlin it's so much cooler over there," do yourself a favor and pick up Kreidler's latest. This German outfit has been around since the '90s and has always stuck to its neo-Kraut, postmodern disco aesthetics. A world where LCD Soundsystem can be an unlikely stadium band is finally ready to embrace Kreidler.
MATER SUSPIRIA VISION
[Living Tapes, available now]
By now you're probably aware that all the scuzzy druggies have gone on a permanent Halloween, and are whirling dervish-style to the rhythms of the mighty Witch House genre. Mater Suspiria Vision has gone balls-out with a soundtrack for the moment, a melange of Dario Argento, "The Monster Mash" and Bauhaus at its most stereotypical — with a beat you can dance to. The people behind this are in on the joke, too: Most songs explicitly mention witches, and one even mentions a house. You wanna own this time capsule of the now — it's gonna be fun to explain to your kids in 2040. "Ah, remember the '10s ..."
Nature Tries Again
[Hospital, available now]
Revered black-metal mysterians Bone Awl are a duo known only as He Who Crushes Teeth (the drummer) and He Who Gnashes Teeth (the guitar player). Now HWGnashesT has unleashed this obscure side project through Hospital Productions, claiming it "calls into questions the dilemma we are faced with in this world of consciousness and the quickening pace that we approach the unknown." The angriest pop music you'll ever hear.
The Monument Singles Collection (1960-1964)
[Sony/Legacy, April 12]
When the Beatles wrote their first single, what they really wanted to do was sound like Roy Orbison. If you want to know why, and why Bob Dylan and Keith Richards save some of their most heartwarming respect in their books for the Big O, these singles are exhibits A through Z. This is the period when Orbison stumbled on his career-making paradox, a new kind of rousing sadness. Restored in pristine mono sound, the songs shine as they always have, beacons for generations of musicians and fans. Even the super-rare B-sides are tops. You need this.
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