With enough body-shaking twists and testosterone-filled turns, California-bas…

While Coil’s eventual domestic release on Nothing Records remains in limbo, t…

Thump, hi-hat, thump, hi-hat. We are now in tune to the funky house serenade …

The final installment of the trilogy in the Marilyn Manson saga, Holy Wood…

Don’t let the Black Speedos, mullet, and pink lipstick(!) adorned by Tiga on …

The prolific California label Moonshine continues to disperse its hit-or-miss…

It’s always interesting to see how much noise a three-piece can create and st…

There has been a time-honored and well-honed tradition among the heads from a…

Every time a Hooverphonic record filters through my speakers, I have no optio…

Serenity. It is a destination like no other. It is one which most of us seek …

Submerged under dark, cinematic atmosphere, rock n’ roll waters and the yearn…

As enigmatic as it is extraordinary, the official site for Requiem For a D…

Behold, the marriage between computer science and music has been officially r…

As the storm of mediocrity continues its torrential downpour over much of the…

Multi-genre experimentation is like walking through minefields with a blindfo…

Deezam! If this is the afterfuture, exhume H.G. Wells and have him construct …

First of all, for those of you scratching your scalps, the name refers to a c…

First rule of Survivor is TALK about Survivor. Second rule, wel…

Front 242, with Cassandra Complex, at Irving Center in New York City on September 28, 2000. Concert review by Kiran Aditham.

The word “downtempo” has become quite an expansive term during the last few y…