between the buried and me's the blue nowhere album cover

The 9C Files: Between The Buried and Me’s The Blue Nowhere

This is how I know I’m old: I remember Between the Buried and Me before they were one of the elder statesmen of progressive metal. Those origins of metalcore and slamming death started to evolve almost immediately, and 23 years later here we sit with The Blue Nowhere, an unapologetic progressive metal album that sounds like a rebirth. Their first as a quartet and the first for progressive super label InsideOut Music, The Blue Nowhere stretches into more unexplored sonic territories for the band, getting downright funky and heavy in equal measure. It’s a great rebound after a somewhat lackluster Colors II, and a bold step into a revitalized future.

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(Un)Focused Definition Ep. 78: The Thankful Aftermath

I’m exhausted, tuckered out from lack of sleep, work stress, having my son home, and getting through the Thanksgiving family madness. I’m also back to writing regularly, and ready to go once again for the daily new release catch-up that I started last December. So think of today’s playlist as a laid back, “get ‘er done” one, though I will always stand behind the music selected. I got a fresh pot of coffee and a (for now) empty/asleep house, so let’s get to it.

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deer hoof's noble and godlike in ruin album cover

Deerhoof: Noble And Godlike In Ruin (2025)

Is there a good place to start with Deerhoof? I always confused them with Deerhunter, a band I discovered around the same time, but my only experience with the San Francisco quartet was their 2007 release Friend Opportunity, an album I barely remember except as “weird.” Almost 20 years later I made the impromptu decision to try again. Enter Noble And Godlike In Ruin, their latest critically acclaimed record in a delightful light green vinyl. It’s still weird, but in a way the intervening 18 years of listening have prepared me. Still, there’s a part of me that feels unequipped to explain why now I can find a lot to enjoy in its anarchic chaos.

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kiyoshi sugimoto's babylonia wind album cover

Kiyoshi Sugimoto: Babylonia Wind (1972)

Would you look at that? Japanese jazz that’s NOT on Three Blind Mice or East West Records. Earlier this year saw the vinyl release of Babylonia Wind, the 1972 record from guitarist Kiyoshi Sugimoto and his quintet. Beautifully packaged as part of the Deep Jazz Reality series from Universounds, the Tokyo record shop and reissue label run by Yusuke Ogawa, it’s another hidden gem in the early 70s jazz rock revolution. I don’t know if I’m equipped to compare how this fares with a lot of what was on the rise at the time: this isn’t Miles Davis levels of fusion and jazz rock, but Sugimoto’s guitar is definitely wailing with a rock god fervor over the course of the album’s five tracks.

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militarie gun - god save the gun

Militarie Gun: God Save The Gun (2025)

If you had told me a year ago I would be loving a bunch of young, hungry bands the “kids” of today were into, I guess I wouldn’t be that surprised: after all, I’ve been loving The Dirty Nil since discovering their brand of loud, in-your-face pop punk. But the sheer volume of these young bands, and the strength of their music gives me hope that maybe, just maybe, rock is coming back. Case in point: Militarie Gun, whose second (or third depending on how you count) album God Save The Gun was recommended to me by my friend Sean, who wasn’t even alive when I started dating my wife. It’s a terrific, heart-on-sleeve rock album that straddles the swagger of garage rock with pop punk and indie with a bellyful of hardcore/emo themes.

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julie - my anti-aircraft friend

Julie: My Anti-Aircraft Friend (2024)

I believe the children are our future. Teach them well and let them lead the way…especially if you’re teaching them by way of Sonic Youth and My Bloody Valentine. That’s what I hear when I listen to julie, a trio out of Los Angeles who have taken the gospels according to Moore and Shields to heart, and crafted in My Anti-Aircraft Friend a fun and vibrant debut full-length that works for what it is: a catchy and frazzled indie rock gem, slightly flawed and wearing its influences in each facet of its cut, but sincere and earnest in how it goes about it.

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