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Oneohtrix Point Never – Garden of Delete Garden of Delete is a dark tangle of flowers and thorns, a complex and artsy sort of vaporwave that is unmatched and truly contemporary. Battles – La Di Da Di Odd and lively, clean and colorful, La Di Da Di is a synesthetic jam record with tinges of Talking Heads that sounds like a plastic rainbow.
Julia Holter – Have You In My Wilderness If there were ever to be a soundtrack to the life of a twenty-something, this would be it. Meg Myers – Sorry Myers uncompromisingly bares her essence to unravel the fragility and intrinsic beauty of the soul. Dave Rawlings Machine – Nashville Obsolete Being their second full-length album, Nashville Obsolete is an overpowering force of musicianship and craft. The New Regime – Exhibit B Consistent, lyrical alt-rock that sports anthemic highlights like “We Rise, We Fall”.
SUNN 0))) – Kannon Sunn O)))’s ode to the Goddess of Mercy is uncharacteristically catchy, characteristically grim and painfully brief. If you’re an avid reader of mxdwn, you know that we pride ourselves on trying always focus on the best in music removed of hype and pure trendiness. Over the many years we’ve done these features, many times we felt in sync with our fellow music journalism sites and competitors.
Deradoorian – The Expanding Flower Planet Deradoorian album, The Expanding Flower Planet, reveals the combinations that often fueled her into making an album of her own.
Deradoorian captures everything in a manner similar to Pink Floyd, everything intricately detailed and wondrous to the ears.
Screaming Females – Rose Mountain Takes the meat and potatoes rock approach to great heights, with riffs aplenty and spirited vocal performances. The production is crisp and pronounced, and the record is paced with slower moments at just the right times. Django Django – Born Under Saturn Born Under Saturn is jammed packed with the ethereal vocals and the psychedelic synth sounds of the London based, Scottish quartet Django Django. It’s an obvious soundtrack of my future dance parties and forthcoming lone explorations, alike.
Napalm Death – Apex Predator – Easy Meat Pioneers in the realm of “fucking shit up,” Napalm Death will forever serve as everyone’s beacon of destruction. Chelsea Wolfe – Abyss Heavy rocker Chelsea Wolfe experimented with distorted sounds and metallic sounds on her 8th studio album, Abyss, but many of the songs are punctuated with her slow, ethereal vocal melodies – making the album hauntingly beautiful as a whole. Rolo Tomassi – Grievances Rolo Tomassi’s fourth studio album, Grievances, reveals everything there is about Rolo Tomassi and a whole lot more. Their experimental style is anything but ordinary; Rolo Tomassi is everything chaotic and beautiful. 1, the cleverly named debut album from hard rock supergroup Teenage Time Killers, is exactly the heavy as all heck release you could expect from such a lineup. This album is a personal journey through loss, grief and ultimately dealing with the death of others and our own. The album can easily be interpreted as a sonic photo album, moments in the life of shadow in the life of Stevens.
Between the Buried and Me – Coma Ecliptic Back in the “scene” days, if Between the Buried and Me wasn’t on your black, sticker-covered iPod Classic, you weren’t s**t. The progressive-metalers have seen numerous changes, but Coma Ecliptic still seems to properly represent the band’s intended sound.
Blazing guitar riffs run new wave, pop-punk, oldies and funk influences that all roll up into a delightfully varied and modern throwback. Other highlights include the catchy chorus of “Dead Fox” and of course Barnett’s impressive guitar playing, which differs from track to track but maintains a consistently unique sound. Lamb of God – Sturm Und Drang Starting as Burn the Priest and ending as Lamb of God, the Richmond, Virginia band brought heavy metal back to life in the states back in the 90s. The band’s 8th studio release, Storm Und Drang perfectly states Lamb of God’s refusal to hang up their instruments and dissipate into normality.
Primitive Race – Primitive Race The sheer pedigree of Primitive Race is mind-blowing, with some members having spent time with legends of industrial music like of KMFDM and Skinny Puppy, and others having experience working with electronic music innovators like Tricky and Gary Numan.
Primitive Race came from humble beginnings, rooted in a Twitter campaign which evolved into a real-life band after a successful Indiegogo fund-raising project.
The result is a self-titled LP which serves as a melting pot of industrial ideas and sounds like little else being released in any genre. They are probably the best metal band out right now and Lumiferous is as heavy as an elephant eating at a hometown buffet. Hell it cracked the top 25 on a list that includes Kendrick Lamar, Chvrches and Tame Impala. Joy Williams – VENUS VENUS is the fifth studio album that Joy Williams has released since her break into the solo world in 2001 and her individual talent has bloomed into something explicitly amazing.
VENUS, with its obvious tilt toward female empowerment in its name, is the perfect catalyst to the fire of equality that Williams preaches to awaken with all her listeners.
Grimes is the peak of modern electronic, with synth-pop laden in nearly every track, unnervingly catchy melodies and harmonies, and even parts from a song or two that sound derived from a classic RPG soundtrack.


Kendrick Lamar – To Pimp a Butterfly The haunting, frenzied, chaotic and often dramatic stylings that make Kendrick Lamar a true artist have culminated in his epic release of To Pimp a Butterfly earlier this year. In his most recent self-titled EP endeavor with Sarah Barthel and Josh Carter of the Phantograms as the Big Grams, the super group coyly intermingle their respective hip hop and electronic personas on seven tracks to create an unexpectedly electrifying dance record. Although sometimes riddled with tepid lyrics that leave you longing for the past lyrical genius of Big Boi, the infectious beats of producer Skrillex coupled with the effortless New York cool of the Phantograms elevate this EP to an experimental success that easily transforms the Big Grams into a band we love in 2015! Speedy Ortiz – Foil Deer Speedy Ortiz exploded out of the Western Massachusetts punk scene into national prominence with the release of Foil Deer on Carpark Records in April.
The songs utilize angular guitar riffs and driving choruses to form the bedrock over which Sadie Dupuis unleashes her unmistakable vocal hooks.
The album quickly gained momentum on the back of initial singles like “Raising the Skate” and “The Graduates,” but the true strength of Foil Deer was its front-to-back replay value.
Dupuis’ genius lyricism and incredible work ethic are making the future look bright for Speedy Ortiz. Baroness – Purple Usually near-death experiences and horrific crashes spell the end of a band. But in Baroness’ case, and despite the amicable departure of drummer Allen Blickle and bassist Matt Maggioni, it proved the prelude to their most accomplished album since their landmark Red LP. New members Nick Jost and Sebastian Thomson have made admirable contributions and the band sounds re-invigorated and inspired. What we are left with is the conviction that Baroness has not only emerged from the other side of perdition, but emerged triumphantly with a record that is undoubtedly one of the masterpieces of the decade thus far. The album cover boasts an image of Del Rey draped over a Hollywood star tour bus, accurately setting the tone for the haunting, glamour soaked tracks that make up the transcendental album. Honeymoon seems to be Del Rey’s more mature and reserved follow up to Ultraviolence, almost as if her soul had suddenly aged ten years after its release. Doomtree – All Hands Doomtree operates as both a collective and a record label, making this super-group more tight-knit than your average hip-hop collaboration. The beats on their third official studio album All Hands are exceptional and unforgettable, but the group really earns its stripes through dexterous, intellectual lyricism that can be heard throughout its many verses.
Keeping a song interesting when five MCs are taking turns on the mic can be dangerous territory; one bunk verse and the entire song can be sunk. It may sound corny, but the well-roundedness of All Hands is owed to a group effort, or an “all hands on deck” mentality. Myrkur – M This paean to black metal past found its origin in an unlikely place – the feminine half of indie popsters Ex Cops. Rex, Amalie Bruun traded in her Blondie-esque prancing for a long and somber walk through the cold climes and sere textures of Scandinavia, building her debut full-length M around the juxtaposition of haunting folk and choral arrangements, and wicked, low-fidelity blasts of trve black metal aggression. Texturally adventurous and often hauntingly beautiful, Myrkur’s promising foray has shattered black metal’s obsidian ceiling, proving that women too are capable of wearing garish makeup and screaming unintelligibly but convincingly about foreboding nonsense. It makes you wonder if this goofy cynic ever gets bored chalking up all these constant hits. The Gentle Storm – The Diary Set against the exhilarating backdrop of the Dutch Golden Age and taking its inspiration from a doomed romance between Susanne Vermeer and her seafaring husband, Joseph Warwijck, The Diary offers not just an ambitious concept, but an audacious format as well. Anneke van Giersbergen’s melodious voice is a constant throughout, while Arjen Anthony Lucassen’s compositions manage to incorporate a vast array of old world elements in both formats. Sweeping, immersive and lovely, The Diary is a complete and multifaceted statement – one that fans of both European folk and metal’s softer side would be wise to explore.
Tame Impala – Currents What sets Tame Impala apart from other groups today is the fusion between 60s and 70s psychedelic rock and the world of modern electronic as of 2015. Each track is laden with delay, phasers and completely wet with reverb as the group takes the listener through a dreamscape that’s familiar and new all in one drifting feeling. While some tracks appear slow, there is serenity surrounding each rhythmic nook and cranny. Currents is loud, but relaxing, like a gentle boat ride down a river, sometimes transient in spirit, and yet evocative enough to the senses to insight movement through you. The fact that creator, Kevin Parker, was most inspired by listening to the Bee Gees on a mushroom trip is essentially all there is to know. Corrections House – Know How To Carry A Whip On Know How to Carry a Whip, Corrections House sound determined to prove that there are still flags to be planted in the soil of industrial metal. Placing a heavier emphasis on the electronics of Minsk’s Sanford Parker, the supergroup’s sophomore effort is more succinct, more intense and more industrial – but no less metal – than Last City Zero. With thrashy, Pailhead-esque guitars (courtesy of Neurosis’s Scott Kelly), clanging loops that sound pulled from Skinny Puppy and Tabula Rasa-era Einsturzende Neubauten and near-danceable beats that harken back to Nitzer Ebb’s finest work, Know How to Carry a Whip proves that Corrections House is far more than the sum of its parts. Puscifer – Money Shot Maynard James Keenan has always emphasized that Puscifer is not just a side project to keep him busy between Tool and A Perfect Circle albums. Instead, the band serves as a collaborative outlet for the enigmatic vocalist best known as the voice behind some of modern rock’s biggest and best radio hits. Puscifer’s third studio album, Money Shot, was recorded at Caduceus Cellars, Keenan’s winery in the foothills above the Northern Arizona desert.
Chvrches – Every Open Eye CHVRCHES, the current reigning champions of electro pop, made the tail end of 2015 more synth-heavy and and impossibly catchy than ever with their full-length LP, Every Open Eye.


Lead vocalist and known feminist activist Lauren Mayberry is back with more impressive presence than ever as she channels her inner indie powerhouse, commanding attention with her youthful and off-kilter vocals. The album is extremely heavy in terms of electronic down beats and drum kits, but the band has turned the digital element of the album in their favor, creating an end result that is profoundly catchy, with nearly every song boasting an infectious hook.
Failure – The Heart Is A Monster Failure’s triumphant return to the music scene, The Heart is a Monster, has been herald by critics and fans alike as a return to the Failure we knew and loved. After spending years as the mystical 90s rock band nobody had heard of, they came through and released a gem.
In year that had great releases including returns from some great bands, failures return stood as a testament that you can go away and come back just as good as when you left.
The foreboding intro of “Victim” and the machine-gun percussion of “Salvia” hit as hard as anything out there, forging a pounding, blaring, impossible-to-ignore sound that lays the foundation for Death Magic.
Noisy enough to destroy speakers, but counterpointed with melodic sensibilities, Death Magic is often sonically violent and lyrically anti-everything. Exhausting Fire is full of mighty riffs, psychedelic atmosphere, haunting melodies, and unquestionable intensity.
But, like the aforementioned Melvins, there is also a real investment in the hookiness of the riffs.
Kylesa is simultaneously an answer to the macho-stereotype oft associated with metal and the apotheosis of the potency and dread which that stereotype contains. Kylesa have firmly left their stamp on the genre with this record, as well as on the entire musical landscape. They are a prime example of why we must now make the case that metal is no longer about the guttural, dread frustration of a disturbed segment of a (mostly) male sub-culture, but a musical embodiment of the complexity, intensity and diversity of harrowing and sometimes overwhelming socio-cultural landscape. Laura Marling – Short Movie Laura Marling is a mere 25 years old and she is writing songs that are so profound that she cannot shake her nickname, “old soul.” With her fifth studio album she has been critically revered for what would be her most personal album to date. Marling has always been known as a secluded person, never giving too much away in her lyrics or answering too much in interviews. Her lyrics before all seem to come from her experience but her ingenious way of drifting away right when the listener gets too close to her has always been there.
What she did with this album, Short Movie, is finally retracted her “arm’s length” style of writing and invite listeners in to learn a little more about what he has going on. Short Movie has been called Marling’s “quarter life” crisis album for the content that she confronts and in the end any generation or stage of life can seek wisdom in her words. The album took on more of an electric step than her previous albums have and there were skeptics about this approach but she definitely owned the new sound and successfully showed her creative diversity.
Ghost – Meliora Ghost’s previous efforts hinted at a chimerical sensibility walled in and obscured by straightforward structures and a layer of fog clinging to the mix.
In their newfound freedom, the band is invigorated, slithering and shapeshifting through the latest entry in their conceptual series with a sense of refined eclecticism. Newly-mitred vocalist Papa Emeritus III is equanimous and assured, carrying the music into dark-rocky, proggy, theatrical places.
No longer offering halfhearted Hail Satans to the heavy metal orthodoxy, the Nameless Ghouls are free to be zany – to break out the Theremin and Casio tones, to evoke feelings of Porcupine Tree, Between the Buried and Me, Orange-era Dark Suns and Queen. Highlights include the lovelorn stomp of “Cirice,” the stadium-sized ballad to the Antichrist that is “He Is” and the epic conclusion delivered by “Deus In Absentia.” But make no mistake, the entirety of Meliora is rich with uplifting choirs, lovely chord progressions and pleasingly unexpected digressions, seasoned with the perfect dash of metal crunch.
This is the sound of a band discovering their musical identity, and sharing it with the world.
Faith No More – Sol Invictus Atop our list of a supremely impressive year of new music sits the first new album from alt rock heroes Faith No More, their first since 1997’s humorously titled Album of the Year.
Riding high on a wave of resurgent popularity on their “Second Coming” tour the band quietly debuted new songs “Matador,” “Motherfucker” and “Superhero” at sporadic festival appearances last year before ultimately announcing their full-length return, Sol Invictus.
Latin roughly for “Unconquered Sun,” the notion of the band seeing themselves as returning champions is prominent throughout many of the album’s songs. Whereas Jon Hudson was the newcomer on Album of the Year, here his interplay with founding member Roddy Bottum’s piano is an essential foundation of nearly every song here.
Later, his fretwork on “Cone of Shame” sets a foreboding Morricone-esque tone, setting the perfect foundation for a sinister verse and explosive chorus from longtime singer Mike Patton. Along with that track, “Superhero” and “Motherfucker” jump off the page with immaculate cohesion.
All the while, bassist Billy Gould and drummer Mike Bordin provide a thundering, nuanced and unforgettable foundation for all of the melodic interplay.
It’s been years since a band demonstrated the value of such precision artistry and relentless fearless creativity.




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