http://www.youtube.com/watch?v=uMX14j6-rV0

A form of music I have always had an abundance of time for is that with enormous atmosphere. Stars As Eyes may have long ago finished as a production unit, but the penultimate track from their debut effort Freedom Rock stands as a great entry point into the realm of IDM. With Boards of Canada like attention to detail but with the glitchy jitters Aphex Twin perfected, The Fighting Of Fights is a wander through a digitally changing landscape, evolving to the rhythm of war drums in a hip-hop stagger.

Bracknell’s Ghost In The Static have a obsession with writing soundtracks for the impending apocalypse, but if your soundtrack is a 80’s inspired, industrial heavy dystopia, then you sure as hell have a winning formula on your hands. Downer from Open Eyed Dreamer Part One is one of my absolute favourite songs from last year with its instantly catchy chorus, minimal analogue synths, guitar outbursts that keep the tension high throughout and words spoken with such aching and passion, it’s an inspiring listen.

http://www.youtube.com/watch?v=mHQ8FbzK0q0

Formed from the ashes of seminal cult goth band Jack Off Jill, Scarling is the masterwork of vocalist Jessicka Addams and guitarist Christian Henjal. City Noise blasts open with a sense of urgency, guitar noise literally pounding away at nerves before the calming yet incredibly unsettling vocals of Jessicka speak over the ensuing cacophony underneath. It’s less disturbing in content than Jack Off Jill, but not any less haunting or distressing at a push. The quiet and loud dynamic works a little too in places but again that’s what makes the tainted beauty of Scarling an interesting listen if it makes us emote, only for a moment and second album So Long Scarecrow, is absolutely full of those moments.

Try putting a random word in a music streaming platform like Spotify and see what results you get (guess what word I put in here?). Anyway, Hollywood’s All Hail The Yeti are an awe-inspiringly heavy hardcore outfit with a hint of modern sludge-peddling thrown in for good measure a la Mastodon. Suicide Woods, taken from the self-titled album, in the right environment is a chaotic incitement and floor-stomping destroyer that makes me proud to call it my throwdown track. Plus it has one of the most ridiculous but infectious breakdown chants I have ever heard. I think this version is a demo or EP version of this song as it is more raw in areas, but you still feel the intent and ferocity being hurled through your headphones.

Also in contention for this week’s track of the week, Australia’s Sub Atari Knives are a electronic rock crossover group, still in their infancy but rapidly making waves for their sheer energy and their intriguing hybrid style. Their first single DTX (available for FREE from their Soundcloud) is not quite representative of their works on their EP released last year, but contains that same unbridled energy and awesome musicianship which they are gaining acclaim for. If there’s any kind of justice in the world, they will be huge a few years from now.

If some of you think this may sound a little familiar, you may be right if you’ve heard of a little band called Animal Alpha. This is the same Agnette Kjolsrud and her scathing vocal demeanour fronting Djerv, a Norwegian hard rock supergroup formed from the ashes of three formerly up-and-coming bands. The very same hard-hitting riffs, unforgettable attitude and sheer madness are on full display in Headstone, taken from their self-titled debut, with a touch more theatricality. As memorable as it is dangerous, Djerv will tie you to a chair and mercilessly colour every spot on your body black and blue.

Stemming from the late 90s influx of industrial is the American power couple of Kidneythieves. Although Comets + Violins is from 2007’s decidedly more streamlined Trypt0fanatic, the trademark of unmistakable female vocals upon turbalent guitars and striking synths that ploughs through the generic tide with ease, remains as strong as when they began. An excellent balance of grace and destruction.

How sad I am this band is no longer around has to be seen to be believed. But Westminister’s Pure Reason Revolution crafted a combination of spacey prog rock with some folk influences and electronic bursts, all punctuated by beautiful vocal harmonies. The sound was nearly truly their own, and Black Mourning from their final album Hammer And Anvil, showcases the best of what PRR was all about: memorable choruses, epidemically catchy synths, killer vocals and stellar guitar work.

From the school of taking a page or two out of Tool’s book was (yes, they are no more *sad smiley face*) Rishloo, an energetic prog-metal troupe with a grasp on theatrics with what they did. Freaks & Animals is that theatrical side on full display, with a phenomenal vocal talent, engrossing guitar work through out and a beautifully evolving journey. Melancholic, beastly and entertaining all at once, 2007’s lead single from Eidolon will leave you aghast for quite some time.

Here’s something a bit different. British instrumental quintet Miasma & The Carousel Of Headless Horses kind of make the soundtrack for a creepy Victorian snuff film, borrowing tastes of Eastern folk, baroque and some psychedelia to make an unsettling sepia soundtrack for that silent movie you really shouldn’t be watching. Although this track is actually called Reddening: Blood of The Pelican (there was a mix-up and the tracklist is backwards in some places) they are an elusive group, with 2005’s Perils being only one of their two albums.