District Five’s Glut continues the Zurich band’s push into a sound that pulls equally from art-rock, jazz, post-punk, and experimental noise without fully settling into any one category.
The four-piece has spent over a decade developing a sound that feels loose and spontaneous without losing focus, and this album captures that balance particularly well.
Recorded with minimal overdubs, the record has the tension and unpredictability of a live performance, but the band’s control over dynamics and texture keeps it from spiraling into chaos. Instead, Glut feels like a document of a group constantly reacting to one another in real time.
“Seed” opens the record with uneasy momentum as scattered guitar lines, pulsing bass,…
Category: art rock
…compiled by Robert Fripp, including Brian Eno, David Sylvian, Andy Summers, The League of Gentlemen and more.
“[Panegyric label head] Declan Colgan told [Fripp’s manager] David Singleton: ‘Robert has more ampersands in his professional life than anyone I know!’ We went through three iterations of this CD – a David version, a Declan version, and then I made my own comments, and we have this CD that you have. Primarily this is stuff that I want to sit down and listen to. How do we begin? How do we get drawn into this? And then in the middle, when everything sags, what do you do there? And then at the end, well, how do you complete and wind this all up in such a way that the beginning and the end have gone full circle? And there you are.”
Seelie Court – the world’s premier label for rare and previously unreleased archive recordings of underground folk, rock, proto-metal, and psychedelic music presents Too Many Late Nights.
Showcasing The Great Crash’s more experimental and progressive side, these studio sessions emphasise long-form, intelligent art rock compositions, pairing shifting structures with witty, 10CC-like subject matter and a distinctly British sense of irony.
The material impressed John Peel, leading to a BBC Peel Session and placing The Great Crash among the more adventurous voices of the early-1970s UK underground. Formed around the songwriting of drummer and lyricist Piers Geddes, the group blended piano-led…
Green World Image is the second album and Sub Pop debut of spirited post-punk revivalists Telehealth, a group that build on both the sound and subversion of acts like Devo and the B-52s while updating subject matter for the 2020s. Launched from the Seattle music scene by married couple Alexander Attitude and Kendra Cox, Telehealth are fleshed out by members of Slowdive, Tomten, and other indie projects. Attitude and Cox particularly evoke the B-52s at times thanks to the couple’s dual and rotating lead vocals and accented enunciation. The album begins, however, with the soothing voiceover track “[user onboarding sequence],” which asks, “What if there was a model for living that connects people, finances, nature, and technology into one seamless…
Once mainly something that existed in a live setting, the group drifts further into its own orbit with a second collection of songs. What began as a collaboration between two voices now expands with the presence of a third, adding new layers that sometimes verge on something almost familiar.
The work continues to explore a method that feels less like collecting from the outside and more like rearranging from within. Fragments are taken apart and reassembled: rhythms, echoes, remnants of recognizable forms. This time, there is a stronger sense of movement, though it never quite settles. The vocals wander through it all, as if searching without urgency to arrive. At unexpected moments, other sounds surface briefly, then disappear again. The whole seems to find…
…includes the entirety of their ‘Moderate Air Quality’ EP as bonus tracks.
The British-American poet W. H. Auden, in his poem “The Age of Anxiety” (1947), highlights humanity’s isolation in an increasingly industrialized and failing world.
Nearly 80 years later, The Sick Man of Europe is picking up the threads of the same discussion: how to navigate in a world that is diametrically opposed to our needs? How not to lose your ipseity in a data-driven culture vying for your attention? Sick Man of Europe’s eponymous debut album is an exploration of these existential matters — and more.
Yeah, the Sick Man of Europe does not shy away from fundamental issues — does he?
The third solo album by New Orleans D.I.Y. musician Urq (Spllit, W-9), This Dismal Village marks his Exploding in Sound label debut.
It’s his first to be recorded entirely on a four-track cassette Portastudio, almost ditching any digital elements in the process (although some chords from a phone app were looped into “Kings in Bed,” for instance). A dingy, lo-fi blend of playful prog-pop, druggy psychedelia, angular punk, and alternate tunings, it’s a dystopia-themed concept album that travels through time with stops in the Dark Ages, the 1950s, and the present, and each track represents a location in the village. While not recommended for those in a dour or earnest mood, cynicism is welcome.
Inspired by Shirley Jackson’s novel We Have…
Newly remastered 4CD box set by Peter Hammill featuring his first four studio albums issued on his own label, Fie! Records, between 1992 and 1996. Peter Hammill first came to prominence as the founding member and voice of the legendary progressive rock group Van der Graaf Generator.
Alongside his work with Van der Graaf Generator, Peter Hammill has enjoyed a long career as an innovative and ground-breaking solo artist. In 1992 he established his own label, Fie!, to handle his solo work, beginning with the release of the acclaimed ‘Fireships’ that year. A more introspective work, the album was labelled in the original liner notes as “Number 1 in the BeCalm series” and received much critical praise thanks to songs such as ‘I Will Find You’, ‘Curtains’ and ‘Gaia’.
The remarkable output of Ekseption, is compiled in this 13-part CD box set, Planet Ekseption.
Their real breakthrough came in 1969, when their first album Ekseption was released. With their unique combination of classical music and pop, they achieved international success and released 6 popular albums in 3 years. Keyboardist Rick van der Linden gave the band its recognisable sound during that period, until he left in 1973. After his departure, their success slowly declined, even though there were reunions later on.
Planet Ekseption brings together their musical legacy with remastered albums and rare bonus material.The first 9 albums have been remastered from the original master tapes. The remaining 3 albums have been mastered…
After Black Midi called it quits in 2023, bassist/co-vocalist Cameron Picton eventually started making music on his own. Although he was drawn to a more spacious, acoustic sound than that of his former band, his approach was still dramatic and unpredictable in nature. Not quite sure if he wanted to be in another band, he ultimately did bring in collaborators for his debut album, among them members of experimental London group caroline, singer/songwriter/composer Kiran Leonard, and veteran percussionist Steve Noble. Featuring shifting, often trippy narratives (he cited King Crimson as an influence), he named the project and the album My New Band Believe. Without offering much in the way of a through line other than the concept of “dream logic,”…
Recorded and mixed over a three-day span in March of 2025, then pressed on cassette quickly enough to be given away with their Which Direction Goes the Beam, which hit shelves in April, Bunker Intimations II finds Index for Working Musik at their most spontaneous and improvisatory. The nature of the recording seems to inspire the group to tap into the latent darkness found in their “real” songs and basically sounds like a 48-minute haunting. The songs rarely rise above the level of a cloaked whisper, scratchy violins carry the near-melodies, and the rest of the band sets the controls for the heart of spookiness. Only “Going to Heaven on the End of a String (Papal Version)” has vocals, the rest of the songs allow the space between the notes to fill in where the voices…
The storied, three-decade (and counting) career of American visual and performance artist, sculptor, photographer, filmmaker, costume designer, and musician Marnie Weber (b. 1959) began with gigs paid in beer at an LA trucker bar in 1977. Her band, Party Boys, formed in artists’ hangout spots in downtown LA’s semi-abandoned industrial zones. Weber was then 19 and had just left home. After a handful of shows, the bar’s owner asked if she and her female bandmate would perform nude. Taking this as a sign to leave LA, they promptly took off to London. However, their search for more ethical trade there was arrested by a harrowing experience. The band were violently assaulted following a cancelled gig, resulting in the destruction of their instruments, their singer’s…
Magma’s Cosmic Masterpiece: The Absolute Classic Live Album That Redefined Progressive Music Magma’s mythic 1975 live set, captured in full fire at Paris’ Taverne de l’Olympia, returns to mark its 50th anniversary with a stunning new edition. Presented as an exclusive 2LP pressing on translucent blue vinyl and housed in a deluxe gatefold sleeve, this release honors one of the most powerful live documents in progressive music history. Widely hailed as one of the greatest live albums ever recorded, Live captures the band at their most transcendent, delivering a performance that shattered genre boundaries and redefined the possibilities of rock. The recording radiates raw intensity, precision, and an otherworldly vision that remains unmatched decades later.
Zappa Records is rolling out its first archival release of 2026, and in doing so, is belatedly celebrating the 50th anniversary of one of Frank Zappa’s landmark releases. Bongo Fury, The Mothers of Invention’s 1975 collaboration with fellow iconoclast Don Van Vliet a.k.a. Captain Beefheart, is notable not only as the final original album to be released by Zappa and The Mothers but also as a transitional album featuring band members George Duke, Tom and Bruce Fowler, and Napoleon Murphy Brock alongside newer recruits such as Terry Bozzio and Denny Walley. Zappa was coming off a purple patch that saw his music reaching a new level of success (including the Gold-certified albums Over-Nite Sensation and apostrophe (‘), the latter of which reached the U.S. top ten)…
Long-standing U.S. art rock collective Biota releases a new album every few years. Measured Not Found, its first since 2019’s Fragment for Balance, is a woozy and disorienting journey through shimmering and haunting collages that have become the group’s signature sound.
The instrumentation is broad, including clavioline, French horn, prepared music boxes, Hammond organ, guitars, ektara, Fender Rhodes, strumstick, trumpet, bass, piano, synthesizer, harmonica, flute, rubab, pump organ, accordion, kit drums, tabla, biomellowdrone, bent circuits, dumbek, and violin. The most prominent are piano, synthesizer, guitar, and the other stringed instruments. Vocals are present on a handful of tracks.
Unlike any other outfit aside from…
…dEUS’ second album returns in a newly remastered edition, expanded with a selection of B-sides and rare recordings.
Producing the opening track “I Don’t Mind Whatever Happens” to sound like a scratchy blues track from 1930 may well be the little joke of either the band or producer Eric Drew Feldman in homage to his former boss Captain Beefheart. The results work pretty well anyway, though, and that characterizes the same “try it, let’s see what happens” spirit through In a Bar. Having established its own sense of savvy white boy urban blues on Worst Case Scenario, the band explores more ways around it on its second effort, generally favoring a quieter, calmer result throughout. New guitarist Craig Ward fits into the lineup well, business carrying…
…dEUS debut album remastered and added with B-sides and rarities.
About the only thing wrong with dEUS’ full-length debut is that the band put its best foot forward right at the start with the great “Suds & Soda.” A tense, energetic rip with Klaas Janzoons’ violin the final touch that sends everything over the top, it has all the wired energy of early-’90s rock, but with its own arty edge. The only thing quite like it might have been PJ Harvey’s early efforts, but with more feedback throughout the mix and a fine organ break. From that great start, the five-piece spent its time exploring its own interesting rock zone, referencing back to classic rock influences and jazz pioneers as much as any of its many frazzled contemporaries.
There’s something electrifying about a record that feels forged in the cracks between shifts, under fluorescent lights, and in the ache of repetition. Muffled Ears, the World Sounds Bad Quality, the new full-length from Reading’s Sightseeing Crew, pulses with that energy. It’s a record that grabs modern disorientation by the collar and turns it into something cinematic.
Written over a year split between manual graft, bar shifts, and desk hours, this is a body of work that understands routine from the inside. You can feel the grind in its rhythm, but instead of sinking under that weight, Sightseeing Crew explode it outward. The result is a kaleidoscopic blend of swirling sax lines, expansive guitar atmospheres and melodies that feel slightly bent out of shape.
Guitarist and composer Mike Johnson has co-led or led Denver-based avant-rock ensemble Thinking Plague since 1982. The band’s music has been roughly within the aesthetic orbit of Henry Cow and Art Bears, but with a distinct compositional bent. In that sense, it is arguably a more “American” sound based on tightly notated angularity, abrupt pivots, and timbral choices that are influenced as much by 20th-century classical as rock.
This is Johnson’s first solo album that he seeks to distinguish from his work with Thinking Plague. While a number of familiar collaborators from that outfit contribute on The Gardens of Loss (e.g., Elaine diFalco, Dave Willey, Bill Pohl, and Mark Harris), so does an 11-piece orchestral section of strings, reeds, and brass.
Equipment Pointed Ankh is a truly bizarre collective. While the profile of Ryan Davis & The Roadhouse Band has risen precipitously over the last few years, the same gang of adventurers has continued to make strange, colorful, mostly instrumental music as Equipment Pointed Ankh behind the scenes — of which Eggs a Little Late is the latest taste. It sounds as though this fresh batch of music has been influenced by the collective’s recent recording and touring experiences as The Roadhouse Band, stirring in more honky-tonk, country-rock influences, and it’s certainly more accessible than their last couple of efforts, 2023’s excellent From Inside the House and Downtown!
The clearest throughline from past EPA recordings is the two spoken-word pieces,…