On Terminus, the latest album from the project that rose from the ashes of Godflesh, Justin Broadrick once again plumbs the recesses of memory to retrieve his own signature blend of melody and heaviness.
Third Man Records offers a generous overview of Michigan's burgeoning space-rock scene from the 1990s. It covers a wide swath of genres while offering a bunch of largely-unheard rarities.
Despite all the criticism and perhaps unworthy purple praise, there remains virtually a whole shoegaze movement that people ignore outside of its pink, hazy zenith.
Eyedress' Let's Skip to the Wedding is a jaggedly dreamy assemblage of sounds that's both temporally compact and imaginatively expansive, all wrapped in vintage shoegaze ephemera.
Chrome Waves, ex-Nachtmystium man Jeff Wilson offers up solo debut, Open Roads, featuring dark and remarkable sounds in tune with Sisters of Mercy and Bauhaus.
Shadow Offering has glimmers of Braids' former album but with a new direction and an attempt to adopt a new maturity and sensibility.
My Bloody Valentine's Loveless stands as an album of (at least) equal importance to Nirvana's Nevermind. A great deal of its importance is how it offers a gender-bending sonic style that severed the entrenched connections between the electric guitar and masculine phallic power.
Sonic Boom is Peter Kember, a veteran of 1980s indie space rockers Spacemen 3, as well as Spectrum, E.A.R., and a whole bunch of other fascinating stuff. On his first solo album in 30 years, he urges us all to take our foot off the gas pedal.