We’ve partnered with some of our favorite websites to bring you each scene’s best upcoming bands, diving beneath the surface to give you a glimpse of tomorrow. In this monthly check-in with our friend at The Obelisk, we get the scoop on names like Moura, Sasquatch, Trace Amount, and so much more.

I’ll keep it simple and as straightforward as I can. Here are five records that your ears should hear. This isn’t a listicle, or a best-of, or any of that crap. It is just five albums that will make your life better, today. Thanks, and you’re welcome in advance.

Moura, Axexan, espreitan (Spinda Records)
Yes, I’m really starting out a brand new column with a folk-leaning, heavily psychedelic, Galician-language record. Moura’s second LP for Spinda Records really is that essential; gorgeous in a way that feels like magic. The album offers a depth that even the most out-there modern psych heads will find entrancing. It is an immersive look at the band’s home region (A Coruña, Spain) and a work that may never receive the recognition it deserves. But for those who get it, the melody will resonate forever. Axexan, espreitan is a record out of time, but that might make it timeless. And just because that’s hyperbolic doesn’t mean it’s not true.

Sasquatch, Fever Fantasy (Mad Oak Records)
Nearly 20 years out from their debut, L.A.’s Sasquatch are nothing short of electric on Fever Fantasy. Their first record since 2017, it is a highlight of 2022’s heavy rock underground for its songs as well as the unbridled ass-kicking with which they’re delivered. Sasquatch found new footing half a decade ago by bringing in Boston-based drummer Craig Riggs (Roadsaw, Kind); if you think rock music needs saving, Sasquatch are a big part of why you’re wrong.

Trace Amount, Anti Body Language (Federal Prisoner)
Brooklyn-based hard-industrialist Brandan Gallagher⁠—a.k.a. Trace Amount⁠⁠—offers noise-laden, plotted chaos underscored by weighted beats that goes beyond we-took-techno-and-made-it-dark gothism. (Even on the pop-y “Tone and Tenor” or “Digitized Exile.”) For those looking for doom, the static wash of the nightmarish finale “Suspect” should more than suffice. It’s hard to listen to the darkly poetic “Eventually It Will Kill Us All” and disagree with the sentiment: raise a generation on Nine Inch Nails and see what you get.

Supersonic Blues, It’s Heavy (Who Can You Trust? Records)
Let’s ignore, for a moment, the fact that the Netherlands’ Supersonic Blues are inheritors of a Den Haag heavy rock legacy. (That goes back decades, to the ever-dangerous Motorwolf Studio/Records.) It's not even relevent, because the band’s ’70s traditionalist, vintage-style blues rock is actually fresh. It’s Heavy is admirably free of pretense, rife with willfully distorted sounds, and catchy to boot. It is under-celebrated, but a standout debut.

Charley No Face, Eleven Thousand Volts (Forbidden Place Records)
Portland, Oregon’s Charley No Face defy regionalist party-rock expectations; expect unexpected, psychedelic fare. Anyone who vibed to Quest for Fire will appreciate Eleven Thousand Volts and its lush melodicism, fuzzy riffs, and cultism teasing on “Satan’s Hand.” It came out in February, but make no mistake: it’s a summer record. Hazy and engaging, it's the perfect meld of drifting sounds and specific structure. Just go ahead and put it on.

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