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(via ██████ (nic))

In 2012, when the live recordings of a Czech band called ██████ started assembling lots of listeners in the close-knit European punk/metal scene, it was their name that caught most people’s curiosity. Just a black bar, no words, no sounds, and impossible to search for on the internet. And when said black bar would appear on a flyer, some would think of a mistake, some of a band that was yet to be announced, even when the caption would (vaguely) specify what all of this was about: black metal from Plzeň.

One year later, the five-piece released a four songs demo and clarified that their name should be pronounced “nic”, “nothing” in Czech. However, with their music finally out, the peculiar name was not their only trademark anymore. Their sound turned out to be just as obscure: atmospheric black metal with melodic yet uncompromised and dissonant shapes of screamo and post-metal. Since 2013 was also the year of Sunbather, several comparisons with Deafheaven came quite naturally. But ██████ do not try to sound like any band in particular. Their melodies come from their musical background, their atmospheres from the foggy hills of western Bohemia, and their darkness from the wet and narrow basement where they started to practice in their hometown.

Their songs – named with plain and simple Roman numbers – are breathtaking, but always have something macabre and clammy that keeps them from being fully explosive. It’s as if they’re visually set in a claustrophobic forest grown on lo-fi recordings, anxious and nihilistic lyrics in Czech, cursed blast beats and muffled guitar riffs. The well-conceived union of all of these elements reached its peak in the two tracks – one is more than fourteen minutes long, the other is their most poignant and emotional one to date – recorded for the split with their Michigan-based friends Old Soul in 2014. In just a few years, ██████ managed to create their own style of black metal, and it goes way beyond the hype behind their name.

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(via Alaa Wardi)

Riyadh a cappella musician and YouTube star Alaa Wardi created a vocal remix of 42 of the most popular songs in Arabic history. I hadn’t heard most of these songs before, but it’s fun to see how Wardi shows the evolution of Arabic music.

This video came out last summer but is worth sharing if you haven’t seen it yet. Click here to see a list of the original songs.

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(via Fiesta Bizarra)

Sometimes a band’s name properly reflects its sound. Think of Fiesta Bizarra, for example. The translation from the Spanish literally means “bizarre party.” And the music of this five-piece from Peru feels like a crackling feast: twinkly and melodic, fast and thrilling. On the other hand, a fiesta where a guy screams at the top of his lungs is at least slightly odd.

Fiesta Bizarra is a young band from Trujillo, the third biggest city in Peru. They play a very distinctive and lighthearted type of screamo which occasionally turns melancholy but never enters the realm of desperation or depression. Their sound is sort of reminiscent of Floridian bands Gillian Carter or You’ll Live. It’s probably not a coincidence, and it’s even tempting to call this genre “oceanic screamo,” where emotions are still real and burdensome but cold and foggy landscapes are replaced by sunny beaches.

After two EPs and a 4-way split record with bands from Germany, Italy, and Malaysia, the band released their first full-length last year with Sadness Sorrow Imathgination. While Fiesta Bizarra doesn’t seem to want to take themselves too seriously, like the joyful atmosphere and titles such as “:3” or “RAR” suggest, their songwriting is worthy to be taken seriously.

Their songs stir offhandedly between fast screamo parts and math-rock moments. Drummer Mateo Novoa never keeps the same rhythm for more than a few seconds and constantly adds dynamism to the band’s sound. Most of the job, however, is done by the delightful weaving of the two guitars, alternating passionate strumming and twinkly neurotic melodies. Singer Yosefu Rodriguez unceasingly screams with all of his heart and throat; even when his voice takes a break, the band’s sound is truly rousing. Like in “Oh Summer Summer!”, where a more melodic emo approach is chosen with glaring efficacy. Or in the opening and closing tracks, where the tender voice of guest vocalist Noelia Cabrera grants even more variety to a record that’s already a great example of how variegated screamo can be.

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(via Tigris)

Tel Aviv’s Tigris is a melting pop of different grooves; I hear a few different songs within a single track and it makes me want to dance silly on a beach.

From its Bandcamp bio:

“TIGRIS pulls the East and West African music into a new and surprising musical center. Crazy grooves, special combination of instruments, addictive melodies, and the virtuosity of each band member – puts Tigris in a new territory on the original African music map that covers the world.”

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(via Peter Cat Recording Co.)

You know that heady feeling you get when you listen to Broken Social Scene and Yo La Tengo? New Delhi’s Peter Cat Recording Co. specializes in this frizzy ghostly sound, which they refer to as “postmodern jazz.” And they’re wedding specialists?

All their releases, especially their latest ‘Transmissions,’ are worth listening to from start to finish. Stick around after “Bebe da Vyah” for “Connection (?)” and the BSS comparison will make more sense.

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(via Ruined Families)

“Keep the children asleep with fairy tales of happiness and imaginary needs,” boldly begins Takis Zontiros on the second track off Blank Language, his band’s second release from 2013. “Make them become what you couldn’t be, keep them fed with meat, but hungry sexually, brainwashed with useless pride” he continues as the band delivers resounding blast beats and iconoclastic riffs where the boundaries between different instruments are only fleetingly drawn. The name of the song was “To New Parents”.

Ruined Families are a hardcore punk five-piece from Athens, Greece. After two powerful yet unripe records, they released Blank Language in 2013. The album sounded like a sonic version of the economic crisis and the following riots that kept their country tense for a long time. It’s as violent and chaotic as it should be, but it doesn’t limit itself to wanton anger and criticism: Ruined Families know precisely where to hit, and even more how to do it. Just like the music, their lyrics are blatantly arrogant, provocative, and fearless.

Three years later the band released Education, a more polished record that dares to explore a wider range of sounds and structures. The guitar riffs occasionally indulge in melodic outputs, the drums often slow down, but the band still maintains its overbearing anger. The reason for this evolution can be found in the change of topic: from analyzing the emotional effects of the political and economic situation in Greece and elsewhere, Ruined Families now focus on new technologies, new medias and on the impact they have on people’s lives.

Instead of using slogans, they give birth to new ideas, new concepts and new implicit ways to revolt. They do this through every tool they have: their songs, lyrics, music videos, and artwork. Everything serves to convey the band’s views and thoughts. All the different aspects come together in a precise and evocative way: Ruined Families create their own three-dimensional language made of words, sounds, and images. As they range over both coherent and discordant solutions according to what they need to accomplish, a whole new band-related imagery and philosophy is set.

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