Psychic Graveyard specialize in creating music built around a rich noughty center of garage rock backbeat and drone-y pummeling marshmallow fluff and infusing it with gooey streaks of wah-wah effects and random nuggets of congealed noise and covering the whole heart-clogging concoction in a hard-candy shell of throbbing synthesized sub-bass and Sprechstimme vocals—with the end result being vaguely menacing and entirely intoxicating, that is if you’re built for this sorta stuff which is something like if you took the entire candy bar aisle at your local Wawa convenience store and somehow transformed it into a gnarley fused musical version so if you’re “Looking For Mr. Goodbar” well you just found him.

Who are Psychic Graveyard? Enquiring minds want to know! The band themselves describe it best, so I'll quote from their Spot-i-fried bio here: “Noise Rock pioneers, Eric Paul (Arab On Radar, Chinese Stars, Doomsday Student), Paul Vieira (Chinese Stars, Doomsday Student), and Nathan Joyner (Some Girls, All Leather, Hot Nerds), [and] Charles Ovett (Battle Beasts, Joules) venture through uncharted territory with their new band. Nathan Joyner’s grinding synths and 'found sound' buries the seed of each song deep into the fertile ground--while Paul Vieira’s manic, fuzzed-out guitars, Ovett's bombastic drumming, and Eric Paul’s obsessive lyrics shower the proceedings with equal parts sunshine and rain" and see below for some interesting and occasionally alarming but in a good way videos (parental discretion inadvisable) from the various projects listed above.

Psychic Graveyard's latest single is called “A Good-Looking Ghost” and it can be witnessed at the top of this page. It's a strong contender for this year’s Most Outstanding Achievements In Creating A Song That Sounds Exactly Like It Should Based On The Title Alone award and it's also commendable for its opening quatrain which ably lays out the ghost’s origins: “This is not the death that I wanted / but this is the death that I got / The bleeding started around Christmas / and I was dead by March.” So if this sort of thing gets your goat (or your ghost’s goat, or goat’s ghost) and if you're digging this then check out more of their stuff below. (Jason Lee)

Latinx-Futurist group Dos Santos has released the title track of their forthcoming album City of Mirrors, which is due out via International Anthem on October 15th. This single is accompanied by the Osvaldo Cuevas directed video below.

This is the work of Alex Chavez (vocals, keyboards, guitars), Jaime Garza (electric bass), Nathan Karagianis (guitars, sampling, programming, keyboards, vocals), Peter “Maestro” Vale (congas, percussion), and Daniel Villarreal (drums, percussion).

This is new album was produced by Elliot Bergman (NOMO, Wild Belle) who also plays baritone saxophone, clarinet, and upright bass on a couple of tracks.

photo credit @jeralddjohnson 

L.A.-based singer-songwriter Angelnumber 8 today releases “Habit,” the first single from his upcoming project Digital Tribal, along with an accompanying music video, released via CashApp Studios.

The track begins with Angelnumber 8’s crisp, double-tracked vocals accompanied for a couple measures by echoing synth keyboards, until the beat (complete with itchy-sounding snare) enters, alongside delicately arpeggiated, tropical-sounding electric guitar and deep, rounded synth bass. At points, Angelnumber 8’s voice is transformed with clever use of tremolo, lending a hypnotic quality to his voice and blurring the lines between vocal and instrument. When he chooses to bypass the effect, it’s in favor of double-tracking his vocals using the low bass range of his voice, which lends an additional pleasant depth to the soundscape. The track ends just as quickly as it starts, with mischievous vocal hiccups and gentle yelps seeing the drums and bass out until, at last, all that’s left is the electric guitar.

Lyrically, Angelnumber 8 seems to address some unnamed romantic interest in terms of his addiction to them, but also laments their neglect of him in favor of other distractions, including those that earn them money, but not artistic or creative output. “Breathless/I am again,/Like jeans ripped from the hem/Holding on to a thread/Bending,/Twisting,/With limbs,” he sings, describing his strung-out state of mind after bing neglected by the person he’s addressing.

The ingenious music video (directed by the artist and with visual effects by Zach Beech) finds Angelnumber 8 in an idyllic romance with a glitch-ridden, technicolor digital moth. They cavort together in the wilderness, they have dinner at a “fancy” restaurant (although she goes unnoticed, at first, by the waiter), but their time together takes an unfortunate turn toward the morbid, as well as the surreal. The final sequence is startlingly Lynchian in both its banality and its chilling effect. This writer expects bigger and better work to come soon from this artist on the rise. Gabe Hernandez