Brickbats – Real Heads Know (Self-Released)
Monthly Archives: March 2026
chaircrusher – Stars Have Fallen (Triplicate Records)
Label Description:
Chaircrusher has found his way back onto the main stage of the Triplicate roadhouse. He’s exhaling more beautifully bizarre and mesmerizing compositions for your listening pleasure with the same laid back yet experimental vigour that made last year’s 3Phase such a rewarding listen. Pick up Stars have Fallen right the heck now. It’s every bit as grandiose and fascinating to listen to as the heaviness of the title implies.
All tracks written & Produced by Kent Williams except for:
#1 Written by Kent Williams featuring samples (with permission) from Caroline MacKenzie
blackcirclerecords.bandcamp.com/track/some-stars-have-fallen
Mastered by Michael Southard
Artwork by Chang Terhune
www.charlesrterhune.com
All tracks written & Produced by Kent Williams except for:
#1 Written by Kent Williams featuring samples (with permission) from Caroline MacKenzie
blackcirclerecords.bandcamp.com/track/some-stars-have-fallen
Mastered by Michael Southard
Artwork by Chang Terhune
www.charlesrterhune.com
Xorgett – basic inventory (Opal)
State Vector Collapse – Informal Studies In Threshold Incrementation (Voidstar Productions)
Label Description:
Recorded live at Cambridge Community Television by David ‘Deftly Demolition’ Dodson and William Day.
State Vector Collapse is Leif Hunneman.
, Screamed The Sniper – Rain Suite (Self-Released)
Label Description: Chaotic feelings about rain as cultivated in a perpetual drought zone.
OS Makochin – Makochin 7 (Self-Released)
Label Description: OS Makochin : Electronics
Recorded in Hokkaido, Japan.
www.facebook.com/os.makochin
osmakochinmusic.bandcamp.com
Mastering and cover art by Nicholus Parrott at CGR.
Ganavya – like the sky I’ve been too quiet (Native Rebel Recordings)
Agriculture – The Spiritual Sound (The Flenser)
Label Description:
There’s a kind of quiet violence in how music is consumed today—flattened into background noise, sonic perfume fed into algorithms, sold as lifestyle. It’s entertainment as anesthesia. Sound without the weight. The Spiritual Sound, the new full-length from Los Angeles–based band Agriculture, stands as a pointed refusal of this condition. This is not a playlist. This is not a vibe. It is a demand.
Across its runtime, The Spiritual Sound traces a narrative arc through extremes: searing, sky-cracking catharsis on side A; a slow-burning, devotional undercurrent on side B. The album is largely a fusing of the visions of its two principal songwriters, Dan Meyer and Leah Levinson: distinct voices, deeply complementary.
Dan writes like someone clawing toward the divine through noise, channeling Zen Buddhism, historical collapse, ecstatic grief. Leah’s songs move differently: grounded in queer history and AIDS-era literature, amid the suffocating fog of the present, they carry the weight of survival as daily ritual. Her writing asks how to honor queer community and collective struggle without turning it into identity branding or personal mythmaking: how to stay honest, how to stay present. Though distinct, their voices converge in a singular spiritual grammar—one that defines the totality of The Spiritual Sound, not as separate parts, but as one unified expression.
Agriculture’s formation mirrors this duality. What began as a loose collaboration between Kern Haug and Dan Meyer in the Los Angeles noise scene evolved into a shared pursuit of the sublime through heavy music. With the additions of Richard Chowenhill and Leah Levinson, the project solidified into the band’s current form. The ecstatic black metal foundation was laid on 2022’s The Circle Chant, expanded into something more precise and far-reaching on their 2023 self-titled full-length, and deepened further with 2024’s Living Is Easy: a record that embraced devotional intensity and radiant heaviness in equal measure.
Agriculture’s writing process is built on dismantling and revision of self. Dan and Leah bring songs to the band and then allow them to be pulled apart and rebuilt communally: reshaped through conflict, repetition, and deep trust. Richard adds guitar melodies and solos, and Kern constructs rhythms which are sometimes familiar but often unconventional. Finally, with Richard producing, the final form of each song is realized through intense collaborative work in the studio. Although a time consuming and ego-frustrating process, this allows the band to find the spirit of the songs not through inspiration, but through persistence.
Yet, even in its most ambitious moments, The Spiritual Sound remains rooted in the ordinary and in the day-to-day relationships between the people who made it. Gas station snacks. Inside jokes. Sleeping on floors. Playing shows in rooms that smell like mildew. The spirit here isn’t abstract, it’s live. This is spiritual music that starts with imperfect gear and a long-in-the-tooth tour van.
Agriculture doesn’t offer salvation. The Spiritual Sound isn’t a map out of the fire. What it offers instead is presence: a confrontation with the moment, however unbearable, however divine. It insists that meaning is still possible, even in a world hell-bent on reducing everything to content, and where suffering itself can be conducive to recovery. As the Buddhist saying goes “the only way out is in.”
When the founder of Chinese Zen, Bodhidharma, was asked by the emperor of China “What is the true meaning of the holy truth?” He replied, “Vast emptiness. Nothing holy.” This is not background music. This is not for vibe. The Spiritual Sound is music that asks.
Across its runtime, The Spiritual Sound traces a narrative arc through extremes: searing, sky-cracking catharsis on side A; a slow-burning, devotional undercurrent on side B. The album is largely a fusing of the visions of its two principal songwriters, Dan Meyer and Leah Levinson: distinct voices, deeply complementary.
Dan writes like someone clawing toward the divine through noise, channeling Zen Buddhism, historical collapse, ecstatic grief. Leah’s songs move differently: grounded in queer history and AIDS-era literature, amid the suffocating fog of the present, they carry the weight of survival as daily ritual. Her writing asks how to honor queer community and collective struggle without turning it into identity branding or personal mythmaking: how to stay honest, how to stay present. Though distinct, their voices converge in a singular spiritual grammar—one that defines the totality of The Spiritual Sound, not as separate parts, but as one unified expression.
Agriculture’s formation mirrors this duality. What began as a loose collaboration between Kern Haug and Dan Meyer in the Los Angeles noise scene evolved into a shared pursuit of the sublime through heavy music. With the additions of Richard Chowenhill and Leah Levinson, the project solidified into the band’s current form. The ecstatic black metal foundation was laid on 2022’s The Circle Chant, expanded into something more precise and far-reaching on their 2023 self-titled full-length, and deepened further with 2024’s Living Is Easy: a record that embraced devotional intensity and radiant heaviness in equal measure.
Agriculture’s writing process is built on dismantling and revision of self. Dan and Leah bring songs to the band and then allow them to be pulled apart and rebuilt communally: reshaped through conflict, repetition, and deep trust. Richard adds guitar melodies and solos, and Kern constructs rhythms which are sometimes familiar but often unconventional. Finally, with Richard producing, the final form of each song is realized through intense collaborative work in the studio. Although a time consuming and ego-frustrating process, this allows the band to find the spirit of the songs not through inspiration, but through persistence.
Yet, even in its most ambitious moments, The Spiritual Sound remains rooted in the ordinary and in the day-to-day relationships between the people who made it. Gas station snacks. Inside jokes. Sleeping on floors. Playing shows in rooms that smell like mildew. The spirit here isn’t abstract, it’s live. This is spiritual music that starts with imperfect gear and a long-in-the-tooth tour van.
Agriculture doesn’t offer salvation. The Spiritual Sound isn’t a map out of the fire. What it offers instead is presence: a confrontation with the moment, however unbearable, however divine. It insists that meaning is still possible, even in a world hell-bent on reducing everything to content, and where suffering itself can be conducive to recovery. As the Buddhist saying goes “the only way out is in.”
When the founder of Chinese Zen, Bodhidharma, was asked by the emperor of China “What is the true meaning of the holy truth?” He replied, “Vast emptiness. Nothing holy.” This is not background music. This is not for vibe. The Spiritual Sound is music that asks.
Dan Meyer – Guitar, Vocals
Leah B. Levinson – Bass, Vocals
Richard Chowenhill – Guitar
Kern Haug – Drums
Emma Ruth Rundle – Guest Vocals on The Reply
Music by: Daniel Meyer-O’Keeffe, Leah B. Levinson, Richard Chowenhill, Kern Haug
Lyrics by: Daniel Meyer-O’Keeffe, Leah B. Levinson
Produced by: Richard Chowenhill, Daniel Meyer-O’Keeffe, Leah B. Levinson, Kern Haug
Recording Engineer:
Adam Hirsch on My Garden, Flea, The Weight, Serenity, The Reply
Colin Knight on Micah (5:15am), Bodhidharma, Hallelujah
Richard Chowenhill on all tracks
Additional Recording Engineer:
A.L.N. on The Reply
Mix Engineer: Richard Chowenhill
Mastering Engineer: Richard Chowenhill
Art Direction by Leah B. Levinson & Daniel Meyer-O’Keeffe
Cover Design by Leah B. Levinson
Photography by Olivia Crumm
Layout by Suzanne Yeremyan
Anna von Hausswolff – ICONOCLASTS (Year0001)
Label Description:
1st Issue CD available via shop.year0001.com
credits
released October 31, 2025
Released by YEAR0001
A&R Oskar Ekman
‘ICONOCLASTS’
Written by Anna von Hausswolff
Produced by Anna von Hausswolff & Filip Leyman
Tracks 1, 5, 8-9 Written with Otis Sandsjö
Tracks 5, 8-9 Written with Filip Leyman
Tracks 5, 9 Written with David Sabel
Track 10 Written with Abul Mogard
Vocals on Tracks 2-7, 9-11 by Anna von Hausswolff
Vocals on Track 4 by Iggy Pop
Vocals on Track 7 by Ethel Cain
Vocals on Track 11 by Maria Von Hausswolff
Church Organ on Tracks 1-9, 11-12 by Anna von Hausswolff
Guitar on Tracks 6, 9 by Anna von Hausswolff
Guitar on Tracks 3-4, 9 by Filip Leyman
Guitar on Tracks 2-3, 5-6, 9 by Joel Fabiansson
Acoustic Guitar on Track 4 by Karl Vento
Bass Guitar on Tracks 2-3, 5-6, 9 by David Sabel
Drums & Percussion on Tracks 2-5, 7, 9, 11 by Filip Leyman
Drums on Tracks 3, 6 by Love Meyerson
Synthesizer on Tracks 1-9, 11-12 by Filip Leyman
Saxophone on Tracks 1-3, 5-9, 11 by Otis Sandsjö
Clarinet on Tracks 3,5,7,9,11 by Otis Sandsjö
Strings on Track 4 Performed & Arranged by Samuel Runsteen
String Ensemble on Tracks 3, 5, 7, 9, 11
Violins by Jenny Jonsson, Alexander Chojecki, Annie Svedund, Charlotta Grahn-Wetter
Viola by Märta Eriksson
Cello by Lisa Reuter
Double Bass by Viktor Reuter
With String Arrangements by Martin Schaub
Track 9 Arranged with Anna von Hausswolff
Woodwinds on Tracks 1, 3, 5, 8 Arranged by Anna von Hausswolff & Otis Sandsjö
Woodwinds on Tracks 7, 11 Arranged by Anna von Hausswolff
Electronics on Track 10 by Abul Mogard
Recorded at Leyman Studio, Svenska Grammofonstudion, Candy Bomber, Annedal Church, Örgryte New Church & Vinberg Church
Engineered by Filip Leyman, Oskar Lindberg, Ingo Krauss
Mixed by Sven Johansson (Tracks 1-9, 11), Filip Leyman (Tracks 1, 12) & Abul Mogard (Track 10)
Mastered by Magnus Lindberg
Creative Direction by André Jofré
Art Direction by Victor Svedberg
Photography by Evalena von Hausswolff
Artwork by Lotta Antonsson
Released by YEAR0001
A&R Oskar Ekman
‘ICONOCLASTS’
Written by Anna von Hausswolff
Produced by Anna von Hausswolff & Filip Leyman
Tracks 1, 5, 8-9 Written with Otis Sandsjö
Tracks 5, 8-9 Written with Filip Leyman
Tracks 5, 9 Written with David Sabel
Track 10 Written with Abul Mogard
Vocals on Tracks 2-7, 9-11 by Anna von Hausswolff
Vocals on Track 4 by Iggy Pop
Vocals on Track 7 by Ethel Cain
Vocals on Track 11 by Maria Von Hausswolff
Church Organ on Tracks 1-9, 11-12 by Anna von Hausswolff
Guitar on Tracks 6, 9 by Anna von Hausswolff
Guitar on Tracks 3-4, 9 by Filip Leyman
Guitar on Tracks 2-3, 5-6, 9 by Joel Fabiansson
Acoustic Guitar on Track 4 by Karl Vento
Bass Guitar on Tracks 2-3, 5-6, 9 by David Sabel
Drums & Percussion on Tracks 2-5, 7, 9, 11 by Filip Leyman
Drums on Tracks 3, 6 by Love Meyerson
Synthesizer on Tracks 1-9, 11-12 by Filip Leyman
Saxophone on Tracks 1-3, 5-9, 11 by Otis Sandsjö
Clarinet on Tracks 3,5,7,9,11 by Otis Sandsjö
Strings on Track 4 Performed & Arranged by Samuel Runsteen
String Ensemble on Tracks 3, 5, 7, 9, 11
Violins by Jenny Jonsson, Alexander Chojecki, Annie Svedund, Charlotta Grahn-Wetter
Viola by Märta Eriksson
Cello by Lisa Reuter
Double Bass by Viktor Reuter
With String Arrangements by Martin Schaub
Track 9 Arranged with Anna von Hausswolff
Woodwinds on Tracks 1, 3, 5, 8 Arranged by Anna von Hausswolff & Otis Sandsjö
Woodwinds on Tracks 7, 11 Arranged by Anna von Hausswolff
Electronics on Track 10 by Abul Mogard
Recorded at Leyman Studio, Svenska Grammofonstudion, Candy Bomber, Annedal Church, Örgryte New Church & Vinberg Church
Engineered by Filip Leyman, Oskar Lindberg, Ingo Krauss
Mixed by Sven Johansson (Tracks 1-9, 11), Filip Leyman (Tracks 1, 12) & Abul Mogard (Track 10)
Mastered by Magnus Lindberg
Creative Direction by André Jofré
Art Direction by Victor Svedberg
Photography by Evalena von Hausswolff
Artwork by Lotta Antonsson
Ani Glass – Phantasmagoria LP (Recordiau Pwll Records)
Label Description:
Award winning, Cardiff-based artist, Ani Glass, launches her new album ‘Phantasmagoria’ on the 26th of September. What a journey to this moment. Fittingly, Ani’s debut LP ‘Mirores’ (translates as “observer”) was based around movement and progress. It was her first foray into the self-taught art of recording and production and she has not stopped progressing or moving since.
Inspired by working with Martin Rushent as a member of indiepop group, The Pipettes, a strong pop sensibility was cemented as a member of the band, Genie Queen (managed by OMD’s Andy McCluskey. Additional inspirations included 1980s artists and producers Giorgio Moroder, Vangelis, Jean-Michel Jarre and Arthur Russell (who inspired her to learn the cello).
At the start of 2020, just before the release of ‘Mirores’, Ani was diagnosed with a rare benign brain tumour. The diagnosis marked the beginning of the personal journey that has shaped ‘Phantasmagoria’. That final shape is a lush, introspective concept album that delves deeply into her experience of navigating life since then.
Phantasmagoria unites the languages and mediums at Ani’s disposal to express a poignant time in her life, with lyrics in Cymraeg (Welsh), Kernewek (Cornish) and English, as well as some British Sign Language woven into her live performance.
Futuristic, fascinating pop. Ethereal vocals, lush instrumentation and swirling synth pulses echo early Goldfrapp or Enya but this is all Ani Glass, Phantasmagoria is intricate, ethereal, expansive – and newly revealing with every listen.
Inspired by working with Martin Rushent as a member of indiepop group, The Pipettes, a strong pop sensibility was cemented as a member of the band, Genie Queen (managed by OMD’s Andy McCluskey. Additional inspirations included 1980s artists and producers Giorgio Moroder, Vangelis, Jean-Michel Jarre and Arthur Russell (who inspired her to learn the cello).
At the start of 2020, just before the release of ‘Mirores’, Ani was diagnosed with a rare benign brain tumour. The diagnosis marked the beginning of the personal journey that has shaped ‘Phantasmagoria’. That final shape is a lush, introspective concept album that delves deeply into her experience of navigating life since then.
Phantasmagoria unites the languages and mediums at Ani’s disposal to express a poignant time in her life, with lyrics in Cymraeg (Welsh), Kernewek (Cornish) and English, as well as some British Sign Language woven into her live performance.
Futuristic, fascinating pop. Ethereal vocals, lush instrumentation and swirling synth pulses echo early Goldfrapp or Enya but this is all Ani Glass, Phantasmagoria is intricate, ethereal, expansive – and newly revealing with every listen.
Written and recorded by Ani Glass
Produced by Ani Glass & Iwan Morgan
Mixed by Iwan Morgan
Mastered by Gethin John – Hafod Mastering
Mandolin & flute – Laura J Martin
Ysgrifennwyd a recordiwyd gan Ani Glass
Cynhyrchwyd gan Ani Glass & Iwan Morgan
Cymysgwyd gan Iwan Morgan
Mastro gan Gethin John – Hafod Mastering
Mandolin a ffliwt – Laura J Martin
Music For The Rest Of Us 