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Two new shows just for you. We have squeezed out two extended release episodes for this weekend to get you through this week. They contain mostly new songs but there's also new issues from the vaults. The first show features music from Rider/Horse, Mint Field, Robert Aiki Aubrey Lowe, Anastasia Coope, ISAN, Stone Music, La Securite, Bark Psychosis, Jon Rose, Master Wilburn Burchette, Umberto, Wand, Tim Koh, Sun An, and Memory Drawings. The second episode has music by Laibach, Melt-Banana, Chuck Johnson, X, K. Yoshimatsu, Dorothy Carter, Pavel Milyakov, Violence Gratuite, Mark Templeton, Dummy, Endon, body / negative, Midwife, Alberto Boccardi, Divine. Cow in Maui from Veronika in Vienna. Get involved: subscribe, review, rate, share with your friends, send images!
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This was easily one of the most striking and visceral albums that I encountered last year, but it has somehow remained mostly under the radar.  Cold Pin is the end-product of a two-year labor of love, as Keszler leads an excellent ensemble in a very unique collaboration with a huge string installation that he built in a large dome in Boston (the Cyclorama).  It's an amazing and unusual performance, but the installation itself could probably have a very successful career as a solo artist: few things sound better than giant strings being scraped at by small motors in a cavernous room with great acoustics.
Heralding another spurt of activity, this legendary duo has reissued a pair of two long out of print albums from the late 1990s with two added discs of unreleased material. I’ve always found the two previously released albums, When Pornography is No Longer Enough and The Victim as Beauty, amongst the most unhinged and violent power electronics recordings ever, and they’ve lost none of their De Sadeian intensity since release.
I'mnot sure why it took me so long to discover Múm: the records havealways been available and they've toured through these partsand received rave reviews and comparisons to lots of music that Ilike, so it would seem natural that I'd have picked up a couple of Múmrecords by now, but not so. 
Thiswhole album is relaxing and feels warm through every listen. If theidea of being on an island or on a beach isn't appealing, then imaginesitting on a dock and fishing somewhere with nobody around—only thesound of crickets or the call of different birds all throughout theday—the water would pass slowly by and even the most pressing matterswould slip away with it.
I didn't know quite what to expect from a new Esplendor Geométrico album, aside from a lot of relentlessly repeating percussion loops.  However, I did know that I didn't expect Desarrollos Geométricos to be nearly as distorted and brutal as it is, as their last few studio albums have been comparatively clean and less-hostile.  In many respects, this surprise return to the fury of their youth is pretty striking and invigorating, but this Spanish duo still has yet to shake some of their more fundamental and recurring flaws.
After a full year off from touring and releasing new music, A Place to Bury Strangers are still going strong with their balance of sharp hooks and sonic firepower. Much like the Jesus and Mary Chain's significant leap in fidelity from Psychocandy to Darklands, this five-song EP will likely generate more discussion about its production and mixing choices than its well-constructed tunes.
