Soundtrack for a dying world drags you into a year-round Halloween, turning every moment into a stylish, giallo-soaked plunge through dread, decay, and dark cinematic thrill.
Author: Justin Patrick Moore
Kelli Evans :: It’s a Freak Show Ace! (Aurore Press) & V/A :: We Were Living In Cincinnati Vol 2 1982-88 (HoZac)
Long before digital memes defined underground culture, punk flyers—xeroxed collages slapped onto telephone poles—served as the gritty, hand-made invitations to scenes like the Jockey Club’s explosive 1980s freakshow.
Torre di Fine :: EP2 (Winter In Venice)
In a world overflowing with unheard music, Torre di Fine’s EP2 cuts through the noise with a raw, heart-forward surge of distortion, emotion, and shimmering post-rock energy that reminds us why human-made sound still matters.
Ben Pedroche :: Independent As F***: Underground Hip-Hop From 1995-2005 (Velocity Press)
Hip-hop was never my main musical obsession, but it pulsed through the background of my youth—skate sessions, cheap forties, porch-side blunts—quietly shaping the soundtrack of growing up. Ben Pedroche’s Independent as F*** a vibrant history of indie rap from 1995–2005, taps straight into that world, revealing how artists built their own freedom and infrastructure far from the grip of major labels.
The Tear Garden :: Astral Elevator (Artoffact)
When The Tear Garden released their first single “A Return” late this summer, it was clear they were back in full force. The song’s ecstatic promise and lush synthesis between cEvin Key’s pulsing rhythms and Edward Ka-Spel’s visionary lyrics signaled the long-awaited return of their singular experimental magic.
Alessandro “Asso” Stefana :: Self-Titled (Ipecac)
As the crisp Autumn air settles over the Ohio Valley, Alessandro “Asso” Stefana’s self-titled new album on Ipecac perfectly captures the season’s shifting moods with its experimental, folk-infused soundscapes. Blending minimalist arrangements, evocative Americana, and haunting archival vocals from Roscoe Holcomb, this record weaves a deeply emotional journey that feels both timeless and vividly rooted in place.
Ikue Mori :: Of Ghosts and Goblins (Tzadik)
Ikue Mori’s Of Ghosts and Goblins transforms the ghostly folklore of Lafcadio Hearn into a mesmerizing electronic séance—an album where myth, memory, and machine intertwine. Using her OP-1 as a spirit catcher, Mori conjures a world of shimmering sprites, fractured rhythms, and spectral beauty that feels both ancient and futuristic.
Church of Hed :: Under Blue Ridge Skies (Eternity’s Jest)
Summer may be over, but the dream of open roads and endless skies still lingers. Church of Hed’s Under Blue Ridge Skies offers a sonic road trip through the Appalachian highlands—where synths, motorik rhythms, and scenic wonder converge into a journey worth taking.
2View — Everyday Dust :: Shrouded III & Mossed in Translation (Dustopian Frequencies)
Everyday Dust returns with Shrouded III, a fever dream of decayed synths, eerie textures, and hallucinatory soundscapes that blur the line between madness and revelation. Paired with the wild remix project Mossed in Translation, these releases plunge deeper into the project’s haunted world—unsettling, immersive, and impossible to ignore.
OSMIUM :: OSMIUM (Invada)
Osmium is a feral collision of tribal, guttural, thrash, industrial, and grindcore elements—chaotic, hypnotic, and unrelenting. Featuring Hildur Guðnadóttir, Rully Shbara, James Ginzburg, and Sam Slater, it’s a global sonic ritual that feels like a Dionysian descent into madness. Fourth World music for the damned: raw, electrifying, and anything but safe.
Ryan Pinkard :: Shoegaze (Bloomsbury / 33 1/3 Genre Series)
Shoegaze has always been a genre shaped as much by distortion as by definition. Coined—and complicated—by the British music press, the term has been embraced, rejected, and debated by the very bands it aimed to describe. In Shoegaze, music writer Ryan Pinkard explores this hazy history with clarity and curiosity, tracing the genre’s roots through its sounds, scenes, and stories. As a longtime fan, I found his account both illuminating and rewarding—a vital look at a style often heard but rarely explained.








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