Bob Bert "Beach Bongo Bloodbath"
Most music gourmandizers know the name Bob Bert as the drummer for Sonic Youth in their formative years.
With BEACH BONGO BLOODBATH Bob Bert is finally stepping out under his own name for his first true solo album. For this outing he has seriously re-worked a number of cover songs into a veritable audio soundtrack for the movie of his life. Surprisingly for a guy who has slammed away for some very noisy guitar outfits, this is an album with NO guitars or bass.
Bob utilizes a variety of drums and percussion sounds as well as piano, synths, theremin, Farfisa, Rhodes, etc creating a new world of sound. There are six originals and eight covers that play to his love of campy teenage horror flicks, art damaged punk fuk-u-ness and Warholian underground groover vibes. Let the BEACH BONGO BLOODBATH begin………..
MONO "Snowdrop"
When MONO recorded their previous album, OATH, with longtime production partner and friend, Steve Albini in 2023, they never fathomed that it would be the final studio album they made together. Albini tragically died the following year, and that loss left MONO faced with profound grief and uncertainty. Albini had become a fundamental part of MONO’s unmistakable sound, and the thought of replacing him was daunting, to say the least. Enter: Brad Wood (Touché Amoré, The Smashing Pumpkins).
Chosen for both his familiarity with MONO’s creative and technical working process – as well as his decades-long friendship with Steve Albini – Brad Wood entered Albini’s storied Electrical Audio studios in September 2025 to record what would become Snowdrop. Once again working with Chicago-based conductor and orchestral musical director, Chad McCullough, MONO enlisted a 10-piece orchestra as well as an 8-piece choir for the eight massive pieces that make up Snowdrop. Mixed by Wood at his Seagrass home studio in Los Angeles, the album is equally intimate and enveloping.
Where there could easily be a pall hanging over Snowdrop, there is instead an extraordinary air of gratitude. Rather than steep in heartache, there is a poignant appreciation for the resonance of life well-spent with a dear friend – and the yearning for what may come. Snowdrop is the sound of a band turning shock and sadness into hope and wonder – and finding renewed focus in the freedom of unknowing.
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Fucked Up "Grass Can Move Stones Part 2: Year of the Monkey"
Grass Can Move Stones tells the story of Monkey and Good Goat, two young friends who embark on a journey of self discovery, encountering gods, magical creatures, and dangers along the way, loosely following the narrative of the fundamental Journey to the West, written in the 16th century by Wu Cheng’en. The story also charts the career of the band, whose search for a musical home has led them through a varied and complex discography over the past 25 years.
“Year of the Monkey” is the second chapter in the Grass Can Move Stones trilogy, picking up where “Year of the Goat” left off. Monkey and Good Goat continue on their further adventures through time, space and consciousness, into exhilarating conflict and peril, and learning deep and previously unfathomable things about themselves.
Year of The Monkey features an incredible chorus of guest voices which bring to life the visitations and wisdom of all of its otherworldly characters.
Hammok "When Does This Place Become Our Scene"
From Everything is Noise…
Expectations were frankly pretty high for When Does This Place Become Our Scene and, also frankly, they still managed to exceed them by sheer willpower and energy. Whether it’s the clamor of the opening track and lead single “The Scene” or the sticky catchiness of “Gooning for Free”, Hammok are immense. They really skate between a traditional hardcore hammering and the rough elegance of noise rock distortion. When the instrumentation kicks in hard, especially during choruses, vocals stand in its neck deep water; not quite drowned out, but certainly panicked and distorted as if calling out for rescue.
When Does This Place Become Our Scene is just a massive win on all fronts. For all the insecurities and uncertainties it spins with its lyrics and themes, it’s remarkably sure of itself as a sonic encampment of punk ferocity and melodic vigor. It’s the kind of album you hear and wanna immediately show the rest of your pals who like this stuff. I hope this is a shining moment for Hammok, that they are introduced to lots of new fans and supported near and far in ways that matter to them. Anything less is just unacceptable because they are the real deal when it comes to big-time sound and wringing intensity.