…The digital deluxe edition includes four new bonus tracks.
Such is the diversity of David Byrne’s projects since Talking Heads’ split in 1991, it can feel like no possible new endeavour is too far-fetched. Now that American Utopia and Here Lies Love have finished their runs, maybe it’s time for a Broadway musical about the turbulent childhood of Tristan Tzara? Or else an art photography book of textile factories in South Carolina? And surely there’s an album of New Orleans bounce to be made with Diplo and Big Freedia, and possibly a weekly column of recipes for the New York Times?
The fact that none of these options seem particularly outlandish makes the relatively straightforward nature of his latest…
Category: art pop
The journey to Sylvan Esso’s fifth studio album was a cross-country trip, with a storm on either side. Quite literally — Amelia Meath and Nick Sanborn left their longtime home in Durham, North Carolina, in the wake of Hurricane Helene in late 2024; shortly after they settled in Los Angeles, they found themselves surrounded by the January 2025 wildfires. The duo was already mourning the loss of their close friend Jessica, who died of sudden liver failure in 2023.
If there is a single throughline on Ow ∞ (pronounced “Ow Infinity”), it’s grief. It’s not an album about death, per se, but about living in the wake of unimaginable loss, overcoming the pain that keeps piling up — “the suffering of suffering,” as Meath calls it on “Flood Season.”
Within Haruomi Hosono’s decades-spanning career, 2006’s “Walking Vibration” isn’t particularly notable. The celebrated Japanese musician made this flute-accented instrumental for a TV show aired that same year about people seeking clarity in life via a famous pilgrimage around the country’s Shikoku region. It’s a minor entry in a sprawling songbook that changed the course of his home country’s music scene and influenced creators around the world, preserved only on a 2008 “archive” collection.
Yet on his treasure box of an album Yours Sincerely, the 79-year-old Hosono revisits what was once just background music for a four-episode drama. He keeps the traditional percussive touches of the original intact but adds…
While Asher White‘s musical output is a little difficult to catalog after a decade as a prolific Bandcamp releaser, Love Aggregates is the follow-up — not counting her cover of Jessica Pratt‘s eponymous debut — to her critical breakthrough and Joyful Noise label debut, 8 Tips for Full Catastrophe Living. (It’s her 18th album by most counts.) A breakup album by someone with an aversion to cliché, it’s a surprisingly (bitter)sweet, optimistic-sounding one, especially given that White, 25 at the time of its announcement, has confessed that it was her first time writing an album while deeply upset. One of the conspicuous effects of this circumstance, however, is toned-down production compared to the mercurial 8 Tips. Having said that, only the acoustic…
Communication often has multiple angles: at the beginning of Is affect real?, the third song on Frances Chang’s new album, she sings “Sometimes I want to wear / A head of light blonde hair / I don’t care if that’s unfair / Or makes me ordinary”, and she’s being vulnerable while also putting up a defence against being judged. It’s an interesting mix of defiance and insecurity, and Been Thinking Bout Confession sees Chang delivering this kind of lyrical material over idiosyncratic, contemplative instrumentals.
The piano melodies that run through I can feel the waves are sweet and playful, contrasting nicely with the song’s rickety, distorted drum machine loop. Strings add some harmonic layers, sometimes lush, sometimes uneasy, and Chang’s…
“My Lost One”, Materia’s second track, is remarkable. Exemplifying the Julia Holter ethos to the max, it begins wispily with interweaving rippling electric piano figures, a whispered, echoey vocal and slippery acoustic bass. Gradually, grandeur is assumed: a sonic architecture soaring into and beyond the clouds, and outwards into the wider cosmos.
Despite the next track “Fantasy” having a similar, though much more brief exposition, nothing else on Materia is so strikingly consummated. The rest of the album is more muted, foggy, out of focus, restrained. Etiolated, even.
Overall, Materia is line with Holter’s adopted style. Her seventh album is very beautiful, and has a contrasting undertone of disquiet,…
Released via Transgressive Records, Sparks Live On the Moon, the band’s first full live album, captures Sparks at the very peak of their live powers. The 20-track album recorded at the end of their 2025 tour, in the moon’s Taruntius Crater, comes complete with an introduction and closing narration by Academy Award winner Cate Blanchett.
The songs on the live album cover material from Sparks albums as early as A Woofer in Tweeter’s Clothing (1972) up to their most recent album Mad! (2025), and it includes a notable songs such as “This Town Ain’t Big Enough for Both of Us”, “The Number One Song in Heaven” and “When Do I Get to Sing My Way'”.
Louder Than War described the 2025 show as “a hundred minutes of energetic, thrilling…
Sometimes, all you need is a change. When Nora Stanley, an accomplished saxophonist who has worked with, among others, Beth Orton and The New Pornographers, moved to New York City from Oakland, California, she didn’t know she’d be inspired to write so many songs that she’d release an album of her own. “It’s a very unique and specific experience to live in a city that’s hyper-stimulating,” Stanley says.
Her songs are elegant, poetic, and lush, more of a retreat from the city’s chaos. They act as a way for Stanley to “slow things down and process them.” An experienced collaborator herself, Stanley enlisted a wide range of musicians for her debut album, including Shahzad Ismaily, Benny Bock, and Nate Mendelsohn.
L’Rain, the genre-defying project of musician and artistic curator Taja Cheek, broke through with the bewildering 2021 full-length Fatigue, which was followed two years later by the “anti-breakup” album I Killed Your Dog. Fourth release Fata Morgana addresses themes of alienation and self-doubt, with Cheek questioning how to prosper in a world that wasn’t meant for her. Co-produced with frequent collaborators Ben Chapoteau-Katz and Andrew Lappin, along with appearances from other musicians including Cibo Matto’s Yuka Honda, the album often feels dreamier and more nebulous than other L’Rain albums, with Cheek’s vocals often emanating from a cocoon of ethereal effects. Even still, there are numerous unexpected shifts into different genres, all of which are…
Listening to abracadabra’s peel away EP is a little bit like scrolling through Instagram reels, minus the crushing ennui. The beats are fidgety and liable to change. There’s a sense of something whizzing and spooling. A new vocal style might emerge, or a bonkers effect could be layered over something else for a few seconds. Sometimes, in that time-honored 1960s tradition, abracadabra might just use a weird sound — a train whistle, a dub siren — only for it never to crop up in the song again. And why not? Abracadabra build songs like Kevin McCallister builds booby traps: intricate feats of imagination rigged with surprises.
Abracadabra are Hannah Skelton (vocals, synthesizers) and Chris Niles (bass, synthesizers). Although they’ve been active…
With his playful, nature-bound alter ego, Art Feynman, Luke Temple has so far offered an unpredictable, experimental patchwork of folktronica, Krautrock inspirations, global rhythms, Talking Heads-inspired art pop / rock, environmental field recordings, themes relating to the collective consciousness, and so on.
His fourth Art Feynman album, Orphans, surprises again with a 13-track set of mostly instrumentals. While intended as background music, this is Luke Temple after all, and the songs nevertheless hold an allure all their own. The solo LP starts off with a pair of simple, sparse recordings made up of understated yet bittersweet keyboard melodies over sustained chords, and components like time-keeping bass, nature sounds,…
In The Hero with a Thousand Faces, American mythologist Joseph Campbell uses tales from antiquity to chart the “Hero’s Journey,” the cyclical sequence of departure, initiation, and return which serves as the basis for mythic narrative. While this may ring true in the world of fables, practically speaking, I’ve always found personal journeys to resemble curves rather than circles; soft arcs of change that bend imperceptibly, but eventually, toward resolution. Oakland recording artist sachi’s mirror appears to agree. On her debut album, Talking in a Different Way, she opens a portal to a celestial plane of orchestral, fourth-world trip-hop that embraces patience as a means of evocation and wandering as a way to move on.
Sachi’s mirror is the alias of Shaina Pan,…
Highsigh like to stretch definitions. In the studio, they’re about pushing the boundaries of what we might call pop; on paper, they test the meaning of ‘supergroup’. There’s a whole heap of musicians mucking in here on debut album Once Bend, but primarily they comprise Ro Lundberg of freeform New Yorkers JOBS, John Dieterich of Pitchfork art-rockers Deerhoof and Matt Mehlan of whatever-works collective Skeletons (and any number of jazz-adjacent experimental outfits he happens upon). It’s a dense mix of exploratory musical backgrounds and usually sounds like it too.
Part-time percussionists all, the three of them are fixated on rhythm, piling on drum patterns and chewy electronic thumps. They whip up a panic attack on ‘Words We Choose’…
Ed Askew was a New York artist, poet, songwriter and genuine underground legend. Having first broken through with his self-titled album in 1968 (subsequently known as Ask the Unicorn), he made ripples in the Woodstock generation, and ploughed a furrow similar to the likes of The Incredible String Band or Vashti Bunyan on this side of the Atlantic. However, this did not translate into commercial success, and he soon settled into a life of painting, writing, and teaching art. He never stopped making music, although this was generally of the home recording variety, without any particular label interest.
In 2002, a re-release of his lost second album, Little Eyes, gradually started to garner some attention, and eventually led to 2013’s…
Isn’t the world gorgeous through Sofie Birch-tinted glasses? Listening to “Sefirot Surfa,” a gentle, whimsical romp from Bivabippabualukka, has made the harsh and poorly maintained streets around my East London flat feel magical and new: What portals, it begs a listener to ask, could lie between those cracks in the pavement, or beneath that pile of refuse?
Lush and animated, Bivabippabualukka is an extraordinary break from convention in comparison to Birch’s previous releases, a series of ambient folk records that encouraged scholarly engagement with the minutiae of Birch’s compositional choices. 2025’s soundbath-like Hiraeth, for example, was hardly casual listening, a listening experience that would likely be impeded…
Holy Wave‘s evolution from laid back neo-psychedelic reverb freaks to a more experimental group who folding shoegaze and dream pop into their sound began on 2020’s Interloper, took flight on 2023’s Five of Cups, and comes as close to perfect as possible on 2026’s enthralling i’m DADA. Working with longtime engineer Joo Joo Ashworth and the duo behind Lorelle Meets the obsolete (Lorena Quintanilla and Alberto González) in the latter’s Mexican studio, the band have left behind almost all their garage rock influences, instead trafficking in heavily overloaded shoegaze, billowing dream pop, echoing dub reggae, and deconstructed indie rock, while also taking a swing at their own take on the charmingly retro futuristic pop Stereolab invented back in…
