Replicas: Grendel, “Inhumane Amusement At The End Of Ages : Redux”
The new reissues of Grendel’s earliest material benefits hugely from a remaster that brings it’s finer details into the light.
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Alphabetical Letter: G
Ganser, “Odd Talk”
After two EPs, Chicago’s Ganser deliver an LP of unnerving and experimental post-punk.
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In Conversation: Grendel, “Age of the Disposable Body”
The Senior Staff discuss the breadth and variety Grendel brings to electro-industrial on their latest.
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Ghost Twin, “Plastic Heart”
Dionysian darkwave from Ghost Twin bridges some older and newer styles.
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The Gothsicles, “I Feel Sicle”
The latest from The ‘Sicles has a broader range of musical ideas than any of their previous albums.
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Glass Apple Bonzai, “In The Dark”
Glass Apple Bonzai goes all in on their Satanic synthpop album.
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God Destruction, “Redentor”
The third album from Mexico’s God Destruction continues to blend black metal flourishes into the edges of the aggrotech template.
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Glass Apple Bonzai, “Night Maze”
Glass Apple Bonzai pick up the chiller side of 80s synthpop on their sophomore record.
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Go Fight, “Napalm Baby”
Jim Marcus’ GoFight returns with an album of smart, sex-positive industrial funk.
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In Conversation: The Gothsicles, “Squid Icarus”
The Gothsicles are back, but is there more to “Squid Icarus” than fart jokes? Alex and Bruce discuss. (Don’t worry, yes, there still are fart jokes.)
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Gnome & Spybey, “Reflective”
Gnome & Spybey enlist a litany of guests for a moodier take on their excellent ambient template.
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Glass Apple Bonzai, self-titled
The debut album from Daniel X Belasco’s retro synthpop project focuses on songwriting over everything else.
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Gatekeeper, “Young Chronos”
The new free-to-download EP from the NYC duo marries their squelchy high-concept techno to a new set of orchestral sounds.
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Gheists, “Age”
The producer behind Mangadrive plays with some darker, slower styles but doesn’t forfeit his attention to detail or bombastic sensibility.
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Gnome & Spybey, “Three”
The third record from the Gnome & Spybey ambient collaboration is perhaps more minimal than its predecessors, but no less evocative.
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