Salt Insanity Void

Salt-N-Pepa exhibited a lot of growth on Blacks' Magic (1990), their third album and, by far, best to date. For their follow-up, Very Necessary, released a long three and a half years later, in 1993, the ladies delivered a fairly similar album. Like its predecessor, Very Necessary boasts a pair of major hits ("Whatta Man," "Shoop") and a lot of fine album tracks. Also like Blacks' Magic, Very Necessary is filled with strong, prideful rhetoric: femininity, sex, relationships, romance, respect, love – these are the key topics, and they're a world apart from those of the gangsta rap that was so popular circa 1993. And as always, the productions are dance-oriented, with a contemporary R&B edge.

The new Dark Ambient project Void Stasis is a collaboration from Kristof Bathory of Dawn of Ashes, Scott Denman of Die Sektor and Marie Ann Hedonia. The project utilizes experimentation of various hardware synthesizers and Eurorack Modules to capture a dark journey through the realms of Xenomorphic soundscapes and surreal frequency atmospheres.
The debut album "Ruins" tells a story about our planet drifting into an alien atmosphere and the aftermath of what would happen to our civilization during the process of human extinction.

Insanity and Genius is the third studio album by Gamma Ray and final album with Ralf Scheepers on vocals…

Even though ANIMAL FLAG have been making music since 2009, it’s best to think of the Boston-based band’s new album, VOID RIPPER, as a beginning rather than a continuation. For starters, it’s the first release from the band’s current lineup — but perhaps more importantly, it’s another entry in Animal Flag’s continual reinvention. “I tend to think of music and the music I’m apart of as an album-by-album endeavor,” frontman Matthew Politoski says. “Each one is its own thing that creates a universe.”

It’s been seven strange years since The Veils’ last studio album Total Depravity, and Finn Andrews has a new double LP to show for it. …And Out Of The Void Came Love is the result of this tumultuous period of injury, isolation and new life…

Selfless is an exploration of catharsis and the escape from entrapments of subjectivity and solipsism, guided by Cousin’s renunciation of any ‘original’ playing or recording of his own, while celebrating intimate community and inter-subjectivity through solicitation of private voice recordings from close friends: Natalie Reid recites her own poem on the hypnotic “Observer (Natalie’s Song)”; Ogun Afariogun (aka Tide Jewel) contributed a freestyle rap recorded and sent by phone on “Yung Wether (Ogun’s Song)”; Ayuko Goto (aka Noah) provided a sound file of whispers for “Empathy (Ayuko’s Song)”; “Dissociation (Kyla’s Song)” is entirely constructed of vocals by Kyla Brooks (aka Nag). The rest of the album’s 12 songs explore a gamut of strategies ranging from the textural, beatless, Satie-inflected opener “Song Siènne” to the pulsing ambient-industrial techno of “Cinema Without People” and “Abjection”, and the kinetic, deconstructed IDM-electronica of “Aesthetics Of Disappearance” and “Agnosia”.