It may not seem like it from the cover art on Contradicciones, but the instrumental fashion and work from Las Hiedras are electrifying. Like a childhood drawing, the ability here of Las Hiedras is colorful, loose, and done in entirely crayon.
Opening with an instrumental track, “Vampirx” is incredibly fast and has a swinging nature to it. The guitar and bass are able to find selective grooves and give an idea of being able to capture the ears. Only one minute in length, “Vampirx” is a bombastic lead-in for quick and almost overpowering sensibilities.
Pulling back the curtain on “Calles,” vocals are introduced and begin to take hold on the audience. More of a conquering nature than any sort of free will, Las Hiedras quickly takes shape to be fluid, like water, heating up to a boil as “Calles” begins the first notes.
Even though the lyrics are all done in Spanish, the instrumentals are perfect matches to the shouting standoffs that keep the non-lingual crowd entertained. Especially on “Sin Tu Amor” which becomes a tight dance of two-stepping and checkered floors. The ska-style built around the foundation of essential horns and rapid percussion, Las Hiedras is essentially constructed on the idea of creating music that is more fun to be heard in a crowd than alone at the house.
Tracks fly by as if they were just seconds in the shortened run on Contradicciones, only lasting a total of 10 tracks over 16-minutes. Contradicciones gives mainly a solid reason to return and repeat the adventure through sound. The instrumentation is particularly interesting as it captures the essence of being created among friends in a basement. Only this basement has the talent and nature of progressive building and real moments of overjoy to the party.
Las Hiedras may not focus entirely on one subject like tonality or tension, instead, they opt to push toward playing and leaving as fast as possible. In their quickened and heightened sense, Contradicciones is nearby just long enough to instill the desire for wanting even more time with Las Hiedras.
When the production does finally find a stopping point, Contradicciones spends its moments not in limbo, but in ways of trying to pick up the pieces and restart the engine. Whether fueled by gasoline or riffs, Las Hiedras becomes a national treasure to music creation.
Listen Here – BandCamp
Lead Vocals + Keyboards: Vanessa Ghisolfi
Drums, Percussion, + Backing Vocals: Grégory Ogier
Bass + Backing Vocals: Thomas Jullien
Guitars: Benjamin Lousky
Saxophone On Tracks 1 + 5: Lionel “Mad Sax” Martin
Cover Art + Band Logo: Bad Taste Factory
Track List: A Better Tomorrow, Spread, Blow By Blow, Black Cats, Ghost Of Remembrance
Listen/Watch Here – Youtube

Directed By: GoogleIsHuman
Featuring: Conway The Machine, Westside Gunn, Benny The Butcher
Listen/Watch Here – Youtube
Video: William Sipos
Additional camera: Isaiah Beasely
Engineered + Mixed By: Samur Khouja
Assistant Engineers: Carlos Gonzales, Oscar Gallegos
Track List: Hit Eject, King Of Cutting Corners, Lurkin’, Lowrider Slug, Please Fuck Off, Thy Mission, Clench To Stay Awake, Sneaky Devil, Kiss My Super Bowl Ring, A Fool’s Expedition, AMPM Truck
Capturing in essence, one of the most layered and detailed albums of 1990 as an era in only 500 words or less could take months of planning and missteps. This is essentially, why approaching Siamese Dream by The Smashing Pumpkins took all this time to approach the site and to be fully understood.
Hearing tracks like the singles of “Today” or even “Cherub Rock” were impossible to miss on the radio, but for good reason. The direction that Billy Corgan takes on the environment for Siamese Dream creates a symbiosis of falling to pieces and trying to recollect what smashed remains appear.
The 13-act play opens with “Cherub Rock,” introducing Butch Vig as the producer and engineer (of Nirvana’s Nevermind fame) on Siamese Dream, orchestrating this over-layering and continuous motion of depth. Listening intently and focusing on just the guitar tracking alone on Siamese Dream can notice notes and rhythms that haven’t been heard for 30 years.
Especially on a track like “Soma” which is much more subtle to the playstyle for The Smashing Pumpkins, recruiting Mike Mills as the piano for the track. Mills delivers this angelic grace of death, gentle but frightening while mixed with Corgan’s vocals.
Describing as emotions falter and boil over, “So now I’m all by myself, as I’ve always felt. And I’ll betray my tears, to anyone caught in our ruse of fools.” Corgan who covers the guitars and bass on Siamese Dream works with James Iha on the guitars and backing vocals. Together this grouping combines to find D’arcy Wretzky on bass and vocals while Jimmy Chamberlin covers the percussion.
Other pieces like “Mayonaise” are more closer representations of The Smashing Pumpkins’ sound as it captures these moments of desperation through the vocal approach from Corgan. The instrumentals can be both a beautiful and nearly operatic illustration of sound, to then matching the despair of the vocals.
“Mayonaise” reflects to perfectly synching up to being stuck between the feelings of disassociation and staring into the metaphorical void. While he describes, “We’ll try and ease the pain. But somehow, we’ll feel the same… And I fail, but when I can, I will try to understand. That when I can, I will,” the guitars mix distortion in as these almost kill switches where the sound is deafened into a screech.
Siamese Dream is if nothing else, an instrumental prodigy of engaging electricity through the atmosphere. The record can pull the head out of that submerged mire, but also leads the hand into misery with the same stepping stone.
Listen/Watch Here – Youtube
Directed By: EUX Paris
Camera: Stephan Gray
Edited By: Matt Carter
VFX: Bradley Carter
Producer: Evan Brown
Production Asst: Neftali Kirkland
Associate: Larry Mizell Jr.
Sound Design: Dalton Harris
Special Thanks: Nancy Peppler
Listen Here – BandCamp
Militarie Gun Members: Ian Shelton, Max Epstein, Nick Cogan, Vince Nguyen, + William Acuña
Engineered + Mixed By: Taylor Young
Mastered By: Nick Townsend
Cover Photo By: Ian Shelton
Xerox By: Chase Mason
Insert Photo By: Derek Rathbun
Layout + Design By: Trey Hales
Track List: Ain’t No Flowers, Don’t Pick Up The Phone, Fell On My Head, Stuck In A Spin
Listen Here – BandCamp
Engineers: Aidan Elias + Harlan Steed
Photo Art + Documentation: Roy Baizan
Special Thanks: Asha, Naya, Julian, Elijah, Aidan, Harlan, + Corpus
Track List: Santa Maria, Exorcista, National Terrorism, Tenebrosa, La Femme Fatale
Listen Here – Youtube
Beat By: Argov
Additional Production By: YOD + Edan
Mixed By: Joe Visciano
Mastered By: Joe LaPorta
Listen Here – BandCamp
Listen Here – BandCamp
Guitar + Synth: Conrad Vollmer
Guitar, Bass, Synth, Programming, Vocals: Tobias Grave
Synth: Nicole Colbath
Track List: Mourning Dove (Demo), Looking At You (Demo), Basement (Demo), Always Running (Demo), Tugahs (Demo), Top To Bottom (Demo), I’m Falling (Ministry), Fentanyl Freddy (A.A. Bondy), This Time (Wipers)
Listen Here – BandCamp
Featuring: Snacks
Produced + Mixed By: Carlos de la Garza
Track List: Missing You, No Clue, Monica, Never Say Never
One of the first real introductory handshakes that came from Uniform was their work with the detrimental and crushing duo, The Body. The collaboration tied in some engaging style clashes, but I wanted to go further back.
Taking a look into their 2015 debut, Perfect World is if the machines took the planet over and Uniform is the narrator from the burnt decay of humanized shadows. As they look on in through this cyber-lens with the introductory title-track, “Perfect World” is desolate and hopeless.
The drum pad bass that plays more doom than sunshine, the consistent percussive punch is a desperate march toward annihilation. While electronic work and guitar strums from Ben Greenburg occupy the atmosphere, vocals from Michael Berdan are shouted to become one last humanistic marks of desperation before the skull is smashed by the metallic foot.
This hellscape gives way to Uniform’s sensibility falling to pieces as each track on the six-headed record comes clamoring through the speakers. Perfect World in a sense is the everlasting pulling and dragging through the mud and shattered world. Most of this world is inhabited by ingots and scrap hunks that cover the ground.
Still, in most aspects of Perfect World, the production and style that Uniform adopts is ear-catching and paints metal images through every second. Berdan’s vocals especially are fantastic, but not in the sense of skill. Instead, the performance and ability to match the production here with guttural screams and miserable anguish becomes the band’s real progression into sonic control.
In a way of fighting back, “Footnote” is six minutes of pure ramped assaulting. With the snare forming a direct line of unapproachable bastilles with impenetrable walls. “Footnote” is storming the castle gone wrong, ending with chaining to eternal and formidable slavery to sound.
The drum work and way that Perfect World attacks as a fountainhead becomes strangely poetic behind the chaos. “Footnote” is one of the tracks from Uniform that fully encompasses this failure and theme of succumbing to an eventual self-destruction.
The track where Drew McDowall comes through as a feature is on “Lost Causes,” giving synthesizer pieces that collide directly with the machinery that Uniform manufactures. More of the last word while the sunsets on this glorious battlefield of body parts and dismantled mechanisms. The combination of McDowall gives some heroic undertones to the work with these photographs of 80s action movies flashing to the eyes.
While Uniform drags the audience through certain danger, there is never this isolative factor. The band works to be with the audience, as a beacon of some strength through unity before humanity is wiped to fragments by the same instrumentals that the band creates.