forestpunk

Visage’s self-titled debut is a reminder that The Long ’70s lasted way longer than nostalgia decade retrospectives would have us believe.

The Human League’s Travelogue may have failed to dominate the charts, but it remains one of the purest blends of pop instinct and experimentation synthpop has ever produced.

In which Merzbow plays the radio.

One man’s trash is another man’s treasure Another man’s treasure is another man’s trash.

Collection:004 is even less like a traditional Merzbow album than the previous three volumes.

With its clattering percussion, clinical electronics, violin and clarinet, Collection:003 may be as close to free improv as Merzbow gets.

Merzbow’s Solonoise I bridges the brutalist sound sculptures of his earliest work with the harsh noise to come.

Portland’s premiere horror film festival descends on the Hollywood Theatre and Clinton St.

Merzbow’s second installment of the Nine Studies of Ephemeral Resonance series for 2025 offers a compelling mixture of modern classical, harsh noise, and post-industrial aesthetics.

Although not precisely a Folk Horror, Robert Wynne-Simmons’ The Outcasts is still steeped in genuine Irish myth, folklore, and landscape.