This revolutionary collaboration between two creative minds, guitarists Joe Morris and Elliott Sharp, offers a vivid snapshot of their deep-seated commitment to free improvisation and disruptive innovation. Drawing from indecipherable yet hypnotic idioms, they construct and deconstruct in pursuit of musical evolution, making Realism a scrabbling provocation where their playing is often pushed to the very edge.
“Shapes Mentioned” emerges with a heady mix of dissonance, drones, percussive strikes, cleverly deployed electronics, and deceptively undemanding guitar noodling that immediately commands attention. The duo — whose artistic temperaments mesh seamlessly — venture into uncharted sonic realms, yielding compelling…
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Back in the late sixties and early seventies, everything that went outside the realms of what at the time considered as rock and pop and fell within the loose borders of modern music was labeled as prog. By those standards, everything you chance to hear on Kitsch Machine, the second album by NYC quartet Porterfield, would be simply slapped by that prog label. Well, you can use that standard as a measure, or you can using a more detailed set of labels including singer-songwriter, rock, and especially jazz.
The Netherlands has produced more ground- breaking music than pretty much any other European nation over the past decade. While names like Pip Blom, The Sweet Release of Death, Personal Trainer, and Neighbours Burning Neighbours could be seen as torch bearers, there’s a new breed coming through ready to join them on their homeland’s throne of magnificence.
…Counting members of Godspeed You! Black Emperor, Exhaust, Hanged Up, Avec Le Soleil Sortant De Sa Bouche, and more; 
Using fictional characters as alter egos is nothing new among musicians. From Gorillaz to the late MF DOOM, many have adopted fictional personas, sometimes fully fleshed-out characters, to perform live or create within the studio. Once, Ghost Bath, a North Dakotan black metal project, even claimed to hail from China. Guido Zen, aka 
If A.R. Kane pioneered dream pop by merging cold, dub-influenced spatial explorations with C86 jangle, Taiwanese artist 
Gazebo is slack and wistful and beautiful, a lo-fi concoction of idle strums and slurry poetry. The songwriter Adam Schubert looks back on his suburban youth with a curdled nostalgia, finding a lyricism in urban alienation.
With the release of their fourth studio album, Hope We Have Fun, Mt. Joy have crafted a work that combines their penchant for what their advance press describes as “folk-rock textures with festival-sized hooks” with some bold experimentation. The band’s latest release is super-sized in ambition; big themes, big swings, and plenty of the aforementioned big hooks that have rendered them a live festival favorite. While the latter makes their latest release familiar, the experimentation makes it fun and promising for Mt. Joy‘s future development.
Melbourne punks 
While Swiss composer 
Live recording of two iconic Pixies albums, Bossanova and Trompe Le Monde. Captured during their 2024 European tour. Demon release for the first time ever, a special Pixies live album featuring full live performances of two iconic Pixies albums from the 1990s, Bossanova and Trompe Le Monde.
The first solo album from Amy Millan in over 15 years, 
Grills, guitars, Auto-Tune, CS:GO gameplay footage, Wisp, flashing lights, shooting guns, skeletons, scuzzy CCTV shots. In the overstimulating music video for “I Heard You,” nu-gaze and SoundCloud rap congeal into an onslaught of digital debris, like an A24 take on corecore. The mastermind is Max Epstein, a Los Angeles workaholic whose rap sheet—live guitar for Jane Remover and quannnic, production for post-emo prodigies like daine and Blair—often outshines his own feverish output. But within the vast sprawl of his collaborations, his spunky solo catalog feels like a buried treasure. His latest and lengthiest LP, the 18-track I look at her and light goes all through me, is equal parts guitar album and producer tape: feature-flecked, genre-agnostic…
Prior to the release of 
While not a complete renunciation of their 2018 eponymous debut, the second album by Foxwarren – singer/songwriter Andy Shauf’s band with friends from college – represents a surprising shift in approach. Whereas the debut consisted of a trippy, pastoral indie rock, the follow-up, titled