Tuxis Giant return with their fifth album, You Won’t Remember This, an understated celebration of the fleeting moments – some magical, others awkward or terrifying – that make life precious.
The Boston/NYC group’s Bandcamp bio simply says “sometimes quiet / sometimes loud”. Most of the 13 tracks on their new LP fall into the first category, and the longest clocks in at just over three and a half minutes.
While calmness and brevity may risk coming off as uninspired, frontperson Matt O’Connor and co. ensure the record has the honesty and the emotional depth that render their restraint deeply affecting and, contrary to what the album title would have you believe, memorable.
That self-effacing line may be interpreted as…
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Pittsburgh-based songwriter 
Moving Images invites the audience to explore the deep connections between sound and imagery, encouraging an introspective journey where the boundaries blur between classical music, cinematic storytelling, and mental imagery. Spanning sombre chamber pieces, ominous yet hopeful and hypnotic ambiances, soft solo piano interludes, poetic and playful flutes, to tension-laced cinematic strings and synths, 
Some bands would call this an EP. That would be stupid, of course, but a more sheepish bunch might use the short tracklist as a hedge. 
The End, Junior Brother’s third album, is a slow, ritual unravelling that feels at once antique and disoriented. It doesn’t progress so much as it circles ad infinitum – like a distortive reel heard from behind a wall.
While much of The Fall’s formidable ’70s and ’80s back catalog has been reissued in recent years following Mark E. Smith’s death in 2018 at the age of 60 and the earlier reissue campaign by Superior Viaduct of their 1979 to 1983 material, here is an often-overlooked piece of Fall history that has finally gotten the reissue treatment. A half-studio, half-live curio often overshadowed by their more well-known studio albums, it’s aged far better than it has any right to, especially given that Smith often dismissed this period as a commercial and comprised vision, leading him to retreat into slightly more experimental and abrasive territory in much of the ’90s and beyond.
Gazing into the black mirror of our screens, we are often confronted with quandaries such as Hick’s law, analysis paralysis, and the paradox of choice. For many artists, the widely available tools of the Digital Age have led to creative blocks and watered-down content.
To the Irish outsider, the traditions of the island may have seemingly long sat still, but in recent years an exciting new wave of forward thinking artists are reinterpreting ancient myth, legend and culture through their own contemporary lens.
“What did you do today?” asks a man with a gentle, encouraging manner. “I did something,” says a small child.” Laughing, the man replies, “And what ‘something’ did you do?” The child answers, “I made my house.” This conversation comes from a home cassette recording made in 1983, when 
There are many ways people fall in love with Americana, but for Netherlands native 
If 
When electronic-ambient-new age pioneer Jean-Michel Jarre was working on 1976’s Oxygene, in his makeshift home studio, he often had to tape down two preset buttons of his Korg drum machine to achieve the effect he wanted. Thanks to the breakout success of that record and its winning blend of bright keyboard melodies and warped analog synths, Jarre didn’t have to resort to such ad-hoc methods for long. Live in Bratislava, taped last year in front of more than 100,000 enthusiastic Slovakians, shows us how far Jarre has come from his old workspace. The spectacle can be experienced in numerous editions, from a concert film to a two-CD-set to a collector’s edition that includes a coffee table book.
Anemoia, as the album’s opening section helpfully informs us, is “the ache of nostalgia for a time you’ve never known”. Given the back-catalogue of SG Lewis and his penchant for classic house/disco vibes one has to wonder whether the title of his third record is a concept or an excuse, but either way there are some great instrumentals and guest performances here.
The trio