Art Rock Music

Daylight

Free Palestine. credits released October 25, 2024 recorded May to October, 2024. album cover font is DEMONS by Sick Again produced by Ellby and HTCAT

Circles

Circles is a conceptual rock album that explores the cyclical nature of existence, touching on themes of creation, destruction, and renewal. Each track represents different layers of life's repetitive patterns, from the natural world to human emotions, societal constructs, and the mysteries of fate. The album's structure moves between intense lyrical narratives and evocative instrumentals, drawing listeners into the endless cycles that shape our lives.

Jeremiah XVII

Another artist might call an album like 𝘑𝘦𝘳𝘦𝘮𝘪𝘢𝘩 𝘟𝘝𝘐𝘐 their most challenging or adventurous. Across eleven tracks, searing theremins and pulsing reggaeton beats collide with downcast country and fairground field recordings. For Christian Molenaar, it's what counts as a pop record. It would be tough to accuse a collection of songs spanning apocalyptic folk, feedback-drenched soul and steel guitar-laden bedroom pop of "selling out," but Molenaar uses his diverse musical palette as a springboard to launch the catchiest, most direct songwriting of his vast discography. 𝘑𝘦𝘳𝘦𝘮𝘪𝘢𝘩 𝘟𝘝𝘐𝘐 builds off the sound Molenaar introduced on February's 𝘔𝘶𝘴𝘢𝘤𝘦𝘢𝘦 𝘌𝘲𝘶𝘪𝘯𝘰𝘹, a boundary-breaking trip through chamber prog, post-punk, math metal and country, but where that album's ecstatic genre-hopping sprang forth as a pure expression of joy, 𝘑𝘦𝘳𝘦𝘮𝘪𝘢𝘩 𝘟𝘝𝘐𝘐 instead traces a mosaic of doomed relationships through circuit-bent synths and homemade guitar effects. To create the album's distinct sound, Molenaar built a suite of DIY instruments, including optical theremins and homebrew synthesizers, all fed through hand-wired contact mics and bespoke fuzz pedals. "I needed to get further inside the sound," Molenaar says, "to really inhabit the process." But for all the squalling feedback and distorted vocals, 𝘑𝘦𝘳𝘦𝘮𝘪𝘢𝘩 𝘟𝘝𝘐𝘐 stands out on the strength of Molenaar's songwriting. Embracing the sadness and anger of a lifetime of failures and disappointments, Molenaar transmutes these negative emotions into his catchiest, most affecting material yet. An iconoclast notorious for the sheer breadth of his musical and literary knowledge, 𝘑𝘦𝘳𝘦𝘮𝘪𝘢𝘩 𝘟𝘝𝘐𝘐 finds Molenaar making—there's no other way to put it—his most stripped-down and personal album of his career.

Wandering Floodlights

Wandering Floodlights is an album about oppositions and friction, with themes like isolation, paranoia, body horror, love and religion all in the mix. I hope it's a poetic listen, but it was definitely a spiritual experience for me to write and sing it. Musically, this album veers in some new directions to my previous. I sample quite a bit of my acoustic guitar and xylophones. Much of the bass is raunchy and filthy and pulled from hard drive dungeons unknown. I hope you enjoy listening and maybe catch a little spark or two in your ears.

Lithium and a Lollipop

Lithium and a Lollipop is my 8th album, recorded deep in the Sonoran Desert. This record is full of wonky, warped samples of a couple of my cheap guitars, a minichord, my voice, and various found instruments (like my metal water bottle). The overall sound is a kind of mutant bluesy electronic rock (light). The songs are autobiographical at their core, but aren't necessarily anchored to some "my reality." As a person who has dealt with mental illness most of my life, it is the liminal spaces between reality, fiction, and spirit that tend to fill my lyrics.

Nothing Happened in the Woods

My debut album. Heavily influenced by psychedelic rock and the music of the 60s. It combines fairly straightforward songs with some questionable material that still makes me wonder how it even spawned in my head. Lyrically, this album consists of fairy tales and medieval-sounding stories. Some of them have meaning, others don't.

Grey / Grey

Meridiano Cero

Meridiano Cero is the fifth solo album by Barcelona musician Jordi Farreras, and the first part of the Home Trilogy: three records dedicated to the places where he has truly felt at home. The remaining two, Fenals and Santa, are still to come. This first chapter goes back to the very beginning. To the skyscraper projects on Avenida Meridiana where his parents still live today. To the earliest memories, the first impressions, the textures and sounds of a childhood landscape that never fully leaves you. Thirteen tracks in Catalan, moving through streets, neighbours, light, and time. An intimate cartography of origin.

In Sore Bless

"The Discretes make an arresting first statement with In Sore Bless, an album that constantly pushes against easy categorisation, drawing from post-rock, ambient electronic, noise and art rock. " - Cody Conard, The Big Takeover The Discretes emerge with In Sore Bless, following and cultivating diverse veins of sound. Post-noise ballads, distilled jams, fragments of Anatolian psych and other genre-amalgams, all become a supplicant at St. Cecilia’s altar, praying to be guided by her voice. CECILIA sings in English, French and Italian, over a background of synth drones, hand percussion, electronic textures and strings, calling to an omnipresent yet elusive love, binding, repelling, fragile, transient, spiritual.

Musaceae Equinox

Musaceae Equinox began life as a series of improvisations on my neighbor's piano while I watched their cats. (Hi, Coopers!) Those piano improvisations started calling out for other instruments to join the mix and soon I thought I'd have a new collection of chamber pieces, until those chamber pieces started calling out for words and lyrics. After six months or so of work, I have a new album incorporating everything from orchestral synthprog and lo-fi trip-hop to progressive metal and cosmic Americana. This album covers a lot of ground and I'm deeply proud of the final product. I played every instrument on the album including the aforementioned piano, drums, strings, various guitars (acoustic, electric, lap steel) and more trombone than I've touched since my high school ska band days. The pieces are even more kaleidoscopic and ambitious in scope than those on Folies Meurtrières but also more cohesive and, dare I say, listenable. I was inspired by Mary Shelley's "modern Prometheus" to make this album a true process of transformation. Besides Frankenstein, the album features notably fewer literary references than most of my recent work, though of course they appear (it's me, after all): "The Devil in a Forest" takes its title from the eponymous Gene Wolfe novel, "Gigue Like This" borrows from Pound's Cantos and "Piccolo Paradiso" sets the Harold Norse poem of the same name. The cover is one of my bats' blood paintings, which for some reason or another tend to pop up adjacent to Shelley.

Pure & Raw

10 track album + 1 bonus track, 10 artwork images and pdf booklet.

El curioso impertinente

El curioso impertinente is the fourth solo album by Barcelona musician Jordi Farreras, and the first part of the Love Trilogy, alongside the forthcoming Ciudad Lineal and a third album still to be named. The album is rooted in Seville: in the streets, the neighbourhoods, the emotional landscape of a life lived and felt there. A sentimental account of a city and everything that happened within it, built around the particular atmosphere that only Seville carries. Conceptual in approach and rich in personal detail, it marks a new chapter in Farreras' ongoing exploration of memory, place and feeling.

New Obscure Karma

New Obscure Karma takes us on an eclectic journey from the bottom to the top; from darkness to personal acceptance through a spirit of electronic modernity and experimentation in the style of James Blake or Gorillaz, while also embracing classic sounds in the style of Peter Gabriel, the progressive music of Supertramp, and the origins of neo-soul in the style of Stevie Wonder. The Barcelona-based artist has moved through funky disco, synth-pop electronica, and ambient, and now presents a much more compact album where flashes of his previous work appear. Highlights include the tracks Making Me Down and Higher Life in the first half of the album, and How To Relax and New Obscure Karma in the second half, with the album's title track representing the album's own journey. Bioskope's experience as a producer of electronic and synth-pop music is refined in the more synthetic elements of the album, which merge with his extensive experience as a drummer and keyboardist to offer his more human and organic side, making the “familiar” sound like something new in these times of cybernetic appearances. In addition to creating an enveloping and captivating sound with the instrumentation, the icing on the cake is the powerful and overwhelming female backing vocals.

First Departure

Lifted from CIRCLE, 'First Departure' is intended as a jarring break from a recurring pattern of stagnancy and decay. An appendix of sorts to [DIS]COMFORT EP, CIRCLE uses a hyperprocessed and stretched version of the track of the same name as a foundational prompt for several ambient experiments and improvised "departures". It is a deeper dive into circular thinking and habits, and that tug of war that so often occurs between what we want to do and what we actually do (or don't do). Dedicated to anyone that feels stuck in a rut. May you find your final departure.

Space Kitchen (2023)

The original Power-Pop meets Prog Rock EP. Described as "utterly pretentious in it's celebration of life" and "a great way to spend half an hour"

Home & Fight (feat. RooKS)

2nd single for the upcoming album AWORLDWINDBUTFUN a song about useless foibles in a loving relationship.

of Children and Their Sorceries

"of Children and Their Sorceries" sees Black Leather Birds continuing its exploration of immersive, world-building music where spoken word, experimental rock, ambient sound design, and ritual chant coexist. Across five tracks, the EP examines anxiety, memory, home, and the strange significance that ordinary objects can accumulate over a lifetime. Literary in both tone and structure, its songs unfold less as narratives than as inhabited spaces -- places where tension, nostalgia, grief, and acceptance are allowed to linger and intermingle.

Reflections of The Infinity Chamber

Reflections of The Infinity Chamber is a bold and imaginative album that brings together a global cast of musicians to reinterpret the songs of The Infinity Chamber in their own unique voices. Spanning styles from introspective folk to gritty rock, cinematic trip hop to art rock, and even playful ukulele renditions, each track offers a fresh perspective while honouring the spirit of the original.

Toxins

Blind as the bat, mad as the hatter Red as a beet, hot as the hare Dry as the bone The bowel and the bladder lose their tone And the heart runs alone... A sumptuous and artistic rock song about flowers and the inner shadows of the mind, “Toxins” drifts between beauty and unease with an almost dreamlike intensity. Drawing inspiration from the mythology and toxicology of the infamous night-blooming plants associated with delirium, visions, witchcraft, medicine, and death, the song explores the strange territory where transcendence and psychological darkness overlap.

Toxins EP

Blind as the bat, mad as the hatter Red as a beet, hot as the hare Dry as the bone The bowel and the bladder lose their tone And the heart runs alone... A sumptuous and artistic rock song about flowers and the inner shadows of the mind, “Toxins” drifts between beauty and unease with an almost dreamlike intensity. Drawing inspiration from the mythology and toxicology of the infamous night-blooming plants associated with delirium, visions, witchcraft, medicine, and death, the song explores the strange territory where transcendence and psychological darkness overlap. Comes with Spectre Horsemen Pale with Dust's moody, atmospheric, hypnotic, and delectably creepy post-industrial remix.