Fronted by brothers Alec Cavazos (Guitar & Vocals) and Destin Cavazos (Bass & Vocals), exPorter has been lighting up stages since 2012. Officially formed in 2018, the band has performed with the likes of Hinds and Hearty Har, and has built a loyal following with a high-energy, hook-heavy sound influenced by bands like Blink-182, Green Day, Smoking Popes, and the Pixies.
STREAM “SOUTHERN KINGSNAKE”
“Southern Kingsnake” draws listeners into a sonic world of blues-soaked riffs, commanding vocals, and hypnotic rhythm. The track slithers with the raw charm of roadside dive bars and open highways, touching on themes of transformation and temptation. It’s a fierce preview of the upcoming record and a bold declaration from a band unafraid to evolve.
New Rubber Girlfriend showcases exPorter’s strongest songwriting to date, with nearly 100 original tracks in their vault and a solid discography that includes Bored (2019), Sort of Live at Jensens (2021), and NoBrakesNoBrakesNoBrakes (2022). This latest project is a definitive leap forward, packed with head-turning singles like “Letting Go,” “805,” “Mustash Sally,” and the breakout “Southern Kingsnake.”
Inspired by Elliott Smith and Belle and Sebastian as a teenager, Matthew Azrieli taught himself the guitar by listening to them, Nick Drake, and early Bob Dylan albums. Afterward, at the McGill Conservatory in Montréal, as well as at Berklee College in Boston, Matthew studied Peruvian composer Agustín Barrios Mangoré and subsequently the classical-indie-folk fusionism of Sun Kil Moon. As a result, Azrieli honed in on creating his very own intimate folk music that showcases his vulnerability as an up and coming musician. Expectations, an ornate baroque-pop EP . featuring the new single “I thought I saw you the other day”, is due later this summer via Baste Records.
ass music heavyweight MUST DIE! continues his remix package rollout with the second installment in the “CHAOS” reimagining series — this time tapping the genre-defying Kill Safari (Kill The Noise & Bro Safari) for a ruthless, high-octane flip that drives the record into uncharted territory. Kill Safari’s remix pulls “CHAOS” into a darker, more rhythmically intense dimension that’s both visceral and relentless.
Originally released in 2019, “CHAOS” remains one of MUST DIE!’s most recognizable and impactful tracks to date as a Beatport Dubstep #1 and streaming juggernaut with over 9 million plays on Spotify. With its seismic drops and uncompromising energy, the single has become a defining moment in his discography and a staple across global festival stages.
Now, Kill Safari injects the track with his signature style — intricate, off-kilter drum patterns, cavernous basslines, and unrelenting tension. In contrast to the melodic, cinematic take by Flux Pavilion just a week prior, this remix embraces pure chaos in its rawest form, showcasing the track’s endless versatility across the bass music spectrum.
The remix is the latest taste of the forthcoming “CHAOS” Remix Package, a curated collection arriving this July that celebrates the legacy of the original while pushing its boundaries through the lens of some of bass music’s most innovative producers. With each remix offering a radically different interpretation, the project underscores the enduring impact of “CHAOS” as a cultural milestone within the evolution of heavy bass.
Flooding is a gut feeling. Fronted by guitarist, vocalist, and songwriter Rose Brown, Flooding is a 3-piece band that explores genres like slowcore, noise rock, post-hardcore, and post-punk. Brown is supported by bassist Cole Billings and drummer Zach Cunningham, who share the songwriting goal of curating abstract elements of different music styles to create a distinct composition with each album and song, rather than fitting into a particular genre. Flooding is interested in what music can allow us to feel and things it can force us to confront. Softness and harshness coexist in everything, and there’s freedom in allowing ourselves to be both at the same time.
Flooding formed in 2021, quickly releasing their eponymous debut album, featuring fan-favorite songs “Insure Me, Procure Me” and “Delayed Gratification.” Ranging from whispers and airy guitar riffs to intense lyricism and distorted blasts of noise, the record cemented Flooding’s place as a band to have on your radar. Their 2023 record Silouette Machine followed, earning praise from Rolling Stone, Treble Zine, New Noise Magazine and more for its heavy but soothing and otherworldly sound, bringing in pummeling drums and guitars just when the listener gets comfortable. With object 1, Flooding infuses pop-forward songwriting into their sound, trading spoken word for melodies and thinking like pop stars when cultivating the energy of their live show.
Στoν Eλaιώνa / Ston Elaióna is John Also Bennett’s first album for Shelter Press since his 2019 solo debut Erg Herbe. The American born, Athens, Greece, based flautist, synthesist, and composer weaves a strikingly singular electroacoustic excursion for bass flute and Yamaha DX7ii, largely recorded in the golden haze of the early morning hours – bending time at the otherworldly juncture of consciousness and place. Translating from Greek as “in the olive grove”, Ston Elaióna is permeated with the ambiences of the ancient and present world, guided into form by a playfully rigorous approach to sound.
Initially emerging during the mid 2000s as part of Columbus, Ohio’s noise scene, before relocating to NYC around 2010, Bennett’s diverse activities picked up an increasing sense of pace over the following decade – performing and recording as a solo artist (JAB), with the trio Forma and with CV & JAB, his prolific duo with his partner Christina Vantzou, as well as playing in Jon Gibson’s ensemble among many other multifaceted collaborations. However, since 2020 the flautist and electroacoustic composer has existed in a semi nomadic state: drifting between Brooklyn, Brussels, extensive tours, and Greece, where he finally came to rest in Athens last year. Drawing upon a carefully honed attentiveness to the environments and experiences of everyday life, Ston Elaióna is a suite of nine pieces (with an additional track exclusive to physical formats), many of them composed and played live as the early morning sun touched the Parthenon, in full view from Bennett’s studio window in Athens. Bennett’s refinement and restraint, honed over his years adrift, led him to adopt a limited palette focused on his primary instrument, the bass flute, and a Yamaha DX7ii synthesizer tuned to just intonation scales. Alongside a handful of other keyboards, digital oscillators triggered by his flute, and occasional field recordings, this simple palette is reflected by the deeply emotive sense of minimalism that permeates the album’s two sides.
Following two solo albums defined by outward facing temperaments – 2022’s Out there in the middle of nowhere (Poole Music), which used a lap steel guitar and generative oscillators to evoke the surreal landscapes of the South Dakota badlands, and the largely synthetic atmospheres of the 2024 anthology Music For Save Rooms 1 & 2 (Editions Basilic) – the shift in Bennett’s worldly circumstances offered an intuitive return to the calm, inward states of creative exploration that have historically defined JAB’s sound. In parallel, context provided clear sources of inspiration for many of the album’s themes, as well as sources for some of its sounds. The aura of Greece, from the ancient to the present, from its stones and olive groves to its traffic, figures heavily across Στον Ελαιώνα / Ston Elaióna’s two sides.
The album’s title track and opener “Ston Elaiona” is but one key to opening the album’s multilayered worlds: swells of intertwining of bass flute, oscillators, and DX7ii channel feelings of playful contentment felt by Bennett when “in the olive grove” or in his apartment, reflecting quiet moments spent among the ancient hills of the noisy city that he now calls home. Drawing upon chance encounters within daily life, the flowing synthesizer tones of “Gecko Pads” dance in motions that seem to mimic the movements of a house gecko that appeared on a wall of Bennett’s studio – a quick dash, and then stillness – while “Hailstorm” expands this vision of domestic intimacy, playing the rise and fall of bass flute melodies against the captured sounds of an intense storm outside: a potent sonic metaphor for his intra and extra worlds. As the sharpness and depth of Ston Elaióna comes into focus, playfully threaded amongst its seductive tonal interplay, we encounter Bennett moving across dimensions of time, topical experience, and layers of cultural conjunction. Like “Hailstorm”, “Easter Daydream” incorporates field recording, but here his flute tones are joined by urban ambience and subtle punctuations of melody and rhythm, captured from a day long bell procession at the small church across the street from his apartment during Orthodox Holy Week, seeding the composition with a deep sense of immediacy and place that draw consciousness well beyond the limits of sound.
Los Angeles, CA-based indie electronic artist Baby Jane shares ethereal, boundary-breaking debut album, A Grave Marked Strange, out now alongside the long-awaited early 2000s-style rave track “End of the Night.” Releasing aptly today on Friday the 13th, the project blends hardstyle, jumpstyle, witch house, hard bounce, and techno into something cinematic, theatrical, and unafraid to break form.
Each track on A Grave Marked Strange, co-produced by Baby Jane and War Tourism, draws from classic horror themes—but with a campy, self-aware twist. Over 16 tracks, the tone is dramatic and stylized, but rooted in real vulnerability. Beneath the distortion and percussive intensity are sticky melodies, sharp hooks, and emotional undercurrents. The project features a collaborative verse from Damazein and additional guitar work by Matthew Michna on the ballad “Sistine.”
Baby Jane shares, “I wrote ‘A Grave Marked Strange’ about the feelings of such intensity that walk the line between life and death. It is the place where you meet your lover in pure bliss or agony outside the realms of convention and mundane life. At her core, Baby Jane is the protagonist I play in my fantasies; macabre and hopeless in nature, but holding out for reality to give her a reason to not to slip into the other side.”
Dirty Versachi, Kid Souf, and Shi La Rosa join forces on new single ‘WHORE SLUT DICK FUCK’ WSDF), a high-octane pop track that fuses dirty club energy with unapologetic, hypersexual lyricism. Combining Melbourne’s club culture with LA’s polished pop production, the single is an unfiltered celebration of desire, sex, and self-expression encouraging listeners to fully embrace the celebration of pleasure. ‘WHORE SLUT DICK FUCK’ is a international collaboration between Melbourne artist Dirty Versachi and Los Angeles artists Shi La Rosa and Kid Souf. Conceived and produced by Dirty Versachi, the track was co-produced with Melbourne’s Andrew Huhtanen McEwan (Huntly, Ahm) and mixed by LA engineer Cody Doss (Lil Wayne, Big Freedia, Little Big). Standing at the forefront of the rising global wave of explicit and queer-forward music, alongside artists like COBRAH, Only Fire, and Slayyyter. It’s a bold entry into the filthy pop movement, where raw sexuality and a no-fucks-given attitude collide. With dirty, high-impact production, shameless lyricism, and a sound built for heaving dancefloors, the track doesn’t hold back – it hits hard, drips sex, and dares listeners to surrender to every lust-fueled impulse.
The trap dons Yellow Claw join forces with Southeast Asia’s very own hip-hop sensation, Yung Raja, to unleash a seismic anthem, “Killing It.” This high-octane single, tailor-made for festival season, is destined to dominate playlists, dance floors, and social media feeds worldwide.
Blending Yellow Claw’s signature festival trap energy with Yung Raja’s distinctive Tanglish (Tamil and English) rap style, “Killing It” delivers an unrelenting assault of heavy 808s, pounding synths, and undeniable swagger. This collaboration bridges cultures and genres, creating a soundscape that will resonate deeply in regions from India, Malaysia and across the world, where both artists have significant fan bases.
Hailing from the Netherlands, Yellow Claw has been a driving force in electronic music since their emergence in 2010. The duo are celebrated for their versatility, fusing elements of trap, bass and hip-hop into tracks that transcend genres. Yellow Claw has garnered a massive global following and performed at the world’s biggest stages.
Singaporean rapper Yung Raja shot to fame in 2018 with his breakout single “Mustafa,” earning acclaim for his effortless blend of Tamil and English lyrics—a linguistic style that’s uniquely his own. As a rising star in the region, Yung Raja has built a global audience with his clever wordplay, and unapologetic embrace of his cultural heritage..
Yellow Claw’s sound takes this genre to towering heights, layering hard-hitting drops with rap vocals and paying homage to that OG trap signature to leave fans in awe for more. With “Killing It,” Yung Raja’s Tanglish verses add a vibrant cultural dimension, making this track a game-changer for fans across India, Malaysia, and the globe.
“Killing It” is now available on all major streaming platforms. Whether you are at a festival or blasting this tune out as you drive through the streets of Mumbai, this track is guaranteed to ignite your spirit and while satisfying all those trap enthusiasts.
Your favorite Indianapolis-based “fake emo” band, Summerbruise, has announced their official signing to SideOneDummy Records. To celebrate, they’ve released a new single called “Never Bothered,” a song that feels like a hug and a gut punch at the same time. It serves as a tribute to a close friend lost to suicide and in Summerbruise fashion, it’s wrapped in an upbeat sound that’ll get stuck in your head, even as the lyrics sit heavy in your chest.
BABYMETAL will release their new album METAL FORTH on August 8 via Capitol Records. Meaning “beyond metal,” METAL FORTH features collaborations with Poppy, Spiritbox, Tom Morello, Bloodywood, Electric Callboy, Polyphia, and Slaughter to Prevail—artists BABYMETAL has connected with while touring the globe. Fans can stream the previously released singles “RATATATA” (with Electric Callboy), “from me to u (feat. Poppy)”, and “Song 3” (with Slaughter To Prevail) now on all digital platforms.
METAL FORTH follows 2019’s METAL GALAXY and THE OTHER ONE, their 2023 concept album. PAPER said, “On THE OTHER ONE, the band cracks open the Metalverse, surfing through parallel universes and a dizzying maze that tests their perceptions of truths, lies, and what rests beyond the darkness.”
For the first time ever BABYMETAL will offer autographed copies of the new album in strictly limited quantities, as well as a box set, alternate cover art versions, LPs, CDs, cassettes, merchandise bundles and more. Visit https://shop.metalforth.com to purchase.
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