Mickelodeon 
Today, as the Mastodon hype has settled into a more breathable comfort reserved for loyal fans, we discover that metal never needed to be validated by academia, and that, just like in horror cinema, this genre doesn’t have to be elevated to be relevant.
In this second installment, we continue to search for those artists who, due to talent, hype, context, or simply bad luck, seemed to have the future in their hands. And, as often happens with the future, it ended up taking another path.
Six years have passed since Punisher made her the great icon of contemporary melancholy. With all this baggage comes her third work, an ambitious and complex piece.
For a brief moment, it seemed they were going to be the next big band. But then, almost always without much fanfare, they stopped being the future.
Six years later, after overcoming health issues that bordered on debilitating, lineup changes, and tireless bumps in the road, the Canadians are back. Within, their first fully independent work, arrives articulated under the maxim of putting everything out there without inhibitions.
With Faith No More’s return scheduled for 2027, it’s impossible not to look back at the figure who transformed the band into something much bigger than a late-eighties funk metal group. Mike Patton is not just a singer. He is the man of a thousand voices, an artist incapable of standing still, and one of the most unpredictable characters in alternative music of the last four decades.
What La Estrategia del Caracol and Cámara Chilena de la Destrucción have created isn’t the typical contractual alliance where two bands gather discards to fill a format. El Hambre y las Ganas de Comer feels like a cohesive and fierce studio album, an eight-track pitched battle where both sides feed on the same rage to deliver one of the most well-rounded works of the Latin American independent scene so far this year.
The third round from Australia’s Genesis Owusu with REDSTAR WU AND THE WORLDWIDE SCOURGE is the expansive and ambitious flipside that his acclaimed debut deserved. Here, Owusu shatters any stylistic ceiling, operating as a chamaleonic frontman capable of tossing into the same blender the pulse of punk-rap, George Clinton-esque basslines, and textures of a post-punk revival that collides head-on with the warmth of neo-soul.
Three years after their debut, the Chilean sextet Inundaremos returns with tanquemante. This second album represents an undeniable leap in quality and is already positioned as one of the year’s most significant releases. Inspired by the poetry of Juan Radrigán, the album emerges as a reaction to complacency, abandoning the comfort of homemade indie folk … Read more
Approaching a new Elder release always sparks a certain unease. Not due to doubts about its quality, but from the vertigo of not knowing what direction a constantly mutating band will take. Over the last decade, their journey from monolithic doom/stoner to progressive rock, psychedelia, and space rock has been fascinating. Since Reflections of a … Read more