The Patagonian city of San Carlos de Bariloche is a beautiful place, lakeside and fringed by tall, snow-dusted mountains. This is where Argentinian artist Luciano Lamtzev, aka Lumtz, grew up, and where he spent two years recording Tesoros, documenting a relaxing-sounding life: lying by the water, walking through nature, listening to the sounds of the city around him. (Apparently he really doesn’t like wearing headphones.) The process was multi-faceted, yielding field recordings, notebooks filled with drawings and ideas, and, eventually, compositions. Tesoros is a gorgeous, sometimes twee record of downtempo electroacoustic sketches that highlight the mundane majesty of living in a beautiful place.
Lamtzev’s previous releases were made of…
Category: indie
Litvar is an alternative band formed in Willimantic, Connecticut in 2020. The band is made up of Rex Thurstan (vocal, lead guitar), Joe Lemieux (drums), Violet Falkowski (vocal, guitar), and John Blues McCarthy (vocal, bass). The band’s name is a compound word of ‘light’ and ‘variation’.
…Thurstan describes the band’s third studio album, Being Here, as “a bare, stripped-back folk record.” Yet, that might be stretching it a bit.
Of course, Thurstan might have in mind what counts as folk in these modern times, or he might have a broader meaning of the term bare, as most of the album is inspired by the loss of his father. What he also might have in mind is a prevailing languid tone of the songs here and sparse, or better said, sustained, but…
Simply put, the Trash Can Sinatras never let their fans down. Starting with 1990’s Cake they’ve released a string of excellent albums featuring their smartly structured, literary-minded songs played with a nimble touch, arranged like a souffle, and sung with the perfect blend of wit and soul by Francis Reader. As the years rolled by the pace slowed more than some might like, to the point where the appearance of 2026’s Ever the Optimist came as something of a brilliant surprise to those wondering where the band had been since the release of 2016’s Wild Pendulum. As one might hope, the record is made up of songs that touch on adult situations with the group’s usual deftness, sometimes coming across almost bitterly melancholic, other times warmly…
It is tempting to search the Family Stereo debut album for lyrical snippets that talk of upbringing and home life, like a musical busybody. For the pseudonym belongs to Blake Watt, the twenty-something son of Everything But the Girl parents Ben Watt and Tracey Thorn. Doesn’t that make you feel old?!
Yet on The Thread that, emphatically, is where the musical similarities end, in spite of the occasional richness suggesting the tonal qualities of his mother’s vocal, or the poised songwriting with which his father has made an understated impact as a solo artist.
Those are mere sidelines, happily, for it is clear Watt has forged his own musical path and can easily stand on his own two musical feet.
Perhaps you’re familiar with Star Moles, the ultra-prolific recording project from Philadelphia musician Emily Moales. Perhaps you’re also familiar with Rubber Band Gun, the similarly ultra-prolific project from regular Star Moles contributor Kevin Basko; Rubber Band Gun and Star Moles dropped the song “Frodoboy” a couple of months ago. Perhaps you would also like to know about Sam and Louise Sullivan, a sibling duo who make a ton of music with Moales and Basko and who have a new album Love & Devotion.
Sam and Louise Sullivan grew up around the US, and they started playing folk music together as kids. These days, they both live in Philadelphia, where Louise runs her own ceramics business and Sam works as a teacher.
Timing, as they say, is everything. And, arriving almost 10 years since they first formed in Brighton, and more than four since their 2022 debut EP ‘’Til The Stream Runs Dry’ tipped them for intriguingly grubby, underground success, jazz-punk band Opus Kink have taken the road to their debut album at a glacial pace.
The reasons for The Sweet Goodbye’s lengthy gestation are standard issue for a relatively small band: a classic mathematical problem of too many day jobs plus not enough time or money. But the musical landscape slows for no band, and the alternative world that Opus Kink find themselves returning to is a markedly different one to that in which they cut their teeth.
Back in the earlier part of the decade, NME…
XXXXX, the new album by Venezuelan producer-vocalist Arca, is reportedly laden with meaning: a press release claims that “suspended between posthuman augmentation and raw emotion, XXXXX exposes the mainframe”. But the reason Arca, real name Alejandra Ghersi, has become such a star of electronic music – and a mainstream-adjacent one at that – is not because she lets philosophy postgrads in Berlin write her marketing copy: it’s because, for well over a decade, she has been putting out records like XXXXX, which seem to tap into the body’s most primal, feral frequencies better than nearly anyone else. That ability has resulted in recent callups to collaborate on Madonna’s Confessions II and remix pop singer Addison Rae, and she has amassed…
There was a certain jovial energy that added to the 2022 debut of contemporary jazz duo DOMi & JD BECK. Coming out of the gate with major co-signs from the likes of Herbie Hancock, Kurt Rosenwinkel, and Anderson.Paak, who helped release the stellar debut through his APESHIT imprint, along with the illustrious Blue Note Records. At the time, it seemed like the freshly budding duo was destined for jazz stardom in an era where the genre rarely gets the attention it deserves, but for one reason or another, the debut LP, titled NOT TiGHT, didn’t make the impact it was meant to. Sure, the Grammy acknowledgment was nice, and the A-list guest appearances were lovely and added some unique flair to the duo’s nimble, playful sound. Still, it could’ve been those…
Who needs a style when you’ve got the songs? We’re living in a musical landscape mediated by algorithmic overlords, in which listeners often seek to be soothed by (possibly evil) ambient tones, burrow deeper into (often frictionless) aesthetics they already like, and passively consume (AI-generated?) tracks suited for various lifestyle functions. People of taste have been decrying the public’s preference for familiar slop over challenging, adventurous, hard-to-categorize art from time immemorial, but in the music world, the streaming era has intensified the primacy of vibes over tunes. Mallory Hawk’s Chinook flies in the face of that conventional wisdom.
…Chinook is named for the helicopters that dotted the sky during Hawk’s childhood in…
Peals — the Baltimore duo of William Cashion (Future Islands) and Bruce Willen (Double Dagger) — return with twin releases via Thrill Jockey: The Compound 76 and Le Pantoum 46.
Both albums document live performances in artist-run rooms separated by three years and a continent. Le Pantoum 46 was recorded in 2013 at Le Pantoum, a long-running DIY space in Quebec City partly run by friend of the band Jean-Michel Letendre Veilleux, during a North American tour with Small Sur that followed Peals’ debut Walking Field. Andy Abelow, then of Small Sur, joined the duo on that tour and plays saxophone on Blue Elvis and Floating Leaf — both Walking Field originals — beginning a collaboration that would continue on subsequent Peals records.
Twenty-five years on from its original release, Warp Records brings Aphex Twin’s Drukqs back into print on vinyl and CD. Often proclaimed as electronica’s one true genius, Richard James, AKA Aphex Twin, returns with a double CD that showcases his cleverness as well as his inevitable inscrutability. Still, amid macabre birthday songs, unsettling screams, and other bizarre touches, Drukqs offers the most technically accomplished and beautiful tracks of Aphex Twin’s career. Every aspect of the Aphex brain is on display here, from stark pieces performed on sampled piano and zither to Squarepusher-styled drum and bass implosions, all informed by that peculiar Aphex treatment of bittersweet melody and unparalleled programming.
The Nimrods soundtrack features 22 of your favorite career-spanning Green Day songs plus soundtrack exclusives “I’m Never Gonna R.I.P” and four unreleased live songs the band recorded at the Palladium in Los Angeles featured in the movie. Additionally, the soundtrack has songs from The Paradox, Ultra Q and Mckenna Grace plus four tracks from Analog Dogs, the fictitious band “Nimrods” centers around.
The Nimrods film will hit theaters on August 14. Developed by writer/director Lee Kirk with Green Day and produced by Tim Perell, Nimrods is a coming-of-age story about three friends (Mason Thames, Kylr Coffman and Ryan Foust) who journey to Los Angeles, mistakenly believing that their band is opening for Green Day on New Year’s Eve.
Down in rural Tennessee, place names often arose from the activities that occurred there: Whetstone Mountain, Poorhouse Branch, Tater Hill, Washboard Creek. If this folk etymology holds, it makes you wonder what was going on in Sweet Lips, Finger, and Hookers Bend. Each of these locations lends its name to a song on Sir Richard Bishop’s newest album, Hillbilly Erotica — the title of which suggests that he knows exactly what those folk were getting up to.
On Hillbilly Erotica, Bishop returns to his roots in more than one way. His paternal homestead of Enville, Tennessee, can be found among these backwoods haunts, and the album is steeped in the folk music of the region. It is a sequel of sorts to last year’s Hillbilly Ragas, which…
Rock music and the world of nature may not seem the most obvious bedfellows, but for Jonathan Meiburg’s Shearwater they go hand in hand. Meiburg’s band are, after all, named after a type of seabird, and the trio’s back catalogue demonstrates their skill in exploring humanity’s relationship with the Earth. The fact that he’s also a qualified biologist and published author only adds weight to the band’s worldview.
Shearwater’s 11th album is possibly their most painstakingly constructed to date. Recorded over four years while travelling across three continents, The New World saw Meiburg assemble an ensemble including Shahzad Ismaily, Leo Abrahams, regular collaborator Thor Harris, and Malian musicians Mamadou Kouyate (ngoni),…
Shoving into the world in 2021 with the intense Blackhaine collaboration ‘Did U Cum Yet / I’m Not Gonna Cum’, Hull-born sonic and visual artist Richie Culver (AKA Quiet Husband) has been feverishly recording and releasing music like a man possessed ever since.
His 2024 outing for Drowned By Locals, Religious Equipment, claimed the album of the week slot here at the Quietus. There was something insular and paranoid about that record. Like it was trying to keep the world out. The Architecture of Perception (only his 4th release since the start of this year, the slacker), by contrast, feels outward-looking. It’s spacious, atmospheric. The opening track ‘Composition’ is like standing outside of a club in the sticky heat of the night.
It is more than twenty years since Mick Flannery released his debut album Evening Train, but the tale it told of (as he puts it) “love, lust, gambling, and a faithful betrayal” has obviously preyed on his mind as he has carved out a feted musical career. Now he has reworked the songs from that record and added ten new ones into an album which accompanies a stage production. The House Must Win has already played to 17,000 people in Ireland over a five-week run. This could be termed the soundtrack album, and Flannery has clearly poured his heart and soul into it.
He has gathered a stellar cast of musicians and guest artists for the recording, including Anais Mitchell, Jenn Grand, Lisa Hannigan and others on vocals, as well as sundry Flannerys.
Austin’s The Black Drumset isn’t just a band, it’s an experiment. Brian Wiley has released three studio recordings since 2009 and the latest, Friends in Dark Places was carefully crafted over the course of seven years, its seven songs are full-bodied trips into the nexus between interstellar intrigue and carnal rhythms. With droning keyboards as copiously applied as the droning guitars, it’s the drums, other percussion, and Wiley’s mesmerizingly monotone vocals that provide a solid center. “Everything turns in time/ See my place in this life/ Every place, every time/ Beauty, hope, peace of mind,” he sings, offering a reassurance that gives way to an extended, entrancing jam.
Wiley’s music radiates a calm, justified…
Take that, AI. Sure, your favorite tech bro’s favorite plagiarism machine can Frankenstein together bits and pieces from every genre and era of music past; but never forget: Every limb, organ and cell of that monster was dead to begin with.
But Nu Jazz, an unruly conglomeration of abstract creators from across the spectrum of New York City’s underground and experimental music scenes, create their hybrids the old-fashioned way: they throw these living, breathing musics into a room together, shut off the lights, and let nature take its messy, delirious course. The results may be unpredictable, they may wear the name “mutant” as a blessing and a curse, they almost certainly will end up ugly to most unadventurous eyes; but they will thrive with visceral, rabid life.
