Until recently, Riya Mahesh’s biography nailed nearly every beat of all-American academic achievement, following a familiar arc from early piano lessons to being crowned prom queen, like Olivia Rodrigo’s well-adjusted Wario. But after hitting a snag and failing to get into Juilliard (happens…), the musician regrouped during the pandemic with a SoundCloud account, a trial run of Logic, and nothing to lose.
As Quiet Light, the Texas-born, Boston-based producer has gone on to release multiple albums of increasingly accomplished art pop, along the way nabbing opening spots for Nilüfer Yanya, Chanel Beads, Ana Roxanne, and Hovvdy. Naturally, she’s managed all this while also powering through medical school.
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Having honed his live chops over many years not only as a solo artist, but also with the celebrated groups The Frames and The Swell Season, Glen Hansard is rightly regarded as a masterful live performer. Recorded over two nights last year in Berlin’s Funkhaus – an historic former radio facility – Don’t Settle (Vol 1, Transmissions East) draws from all stages of the singer’s storied career, making for a powerful and spellbinding listen.
The record kicks off with the title track, which builds from atmospheric ballad to stirring rocker, with a notably streak of defiance: “When they pin you to the corner / Pay no need to their dronin’ on”.
Filled with apocalyptic imagery, ‘Down On Our Knees’ is a driving, intense number with echoes of Joy Division, while the haunting…
With their breakthrough hit ‘Into The Valley’ in 1979, Dunfermline, Scotland’s premier export Skids quickly rose to become one of the most respected and popular bands to emerge from the UK punk and new wave era. Founding members Richard Jobson (vocals) and Stuart Adamson (guitars) were a dynamic combination up front (Adamson went on to even greater commercial success when he later founded Big Country) while the band’s tight, taut sound was grounded by William Simpson on bass and first Tom Kellichan and later Mike Baillie on drums.
Always considered up there with the greatest among their peers – The Jam, Siouxsie And The Banshees, and The Stranglers, for example – both singles and albums showcased…
At the Jazz Showcase: Live in Chicago is the first ever release of piano legend Ahmad Jamal’s trio captured live at Joe Segal’s Jazz Showcase in Chicago on March 20-21, 1976.
In many ways Jamal entered the scene at the height of bebop with an approach unlike almost any of his contemporaries – rooted in spacing, tension and release, with an uncanny ability to perform lines most would call “busy” while making every note choice sound smooth, logical and inevitable. His influence on pianists from Bill Evans and McCoy Tyner to Herbie Hancock and Fred Hersch, and his enduring admiration from Miles Davis, speak to the singular place he occupies in the music.
Here Jamal leads a remarkable trio with bassist John Heard and longtime drummer…
Michael Stephen Brown’s bona fides as a classical pianist were well-accounted for by his 2021 release Noctuelles and its Medtner and Ravel content. The NYC-based Brown (b. 1987) now demonstrates his prowess as a composer with this debut collection of all-original works. The seven presented speak to the versatility and imagination of their creator in featuring solo piano pieces, chamber works, and art songs. Whereas the piano setting Four Lakes for Children (2024) nods in the direction of Impressionism, the vocal-and-piano work Love’s Lives Lost (2023) flirts with the theatricality of a flamboyant Broadway score. There is variety aplenty in the material, and variety too in the arrangements, with the composer appearing as a solo pianist and accompanist to soprano…
Is there more than mere semantics to the difference between remodeled and remixed? A remix takes the components of an original track, breaks them down and puts them back in a different order. A remodel may also include new components. AGATE is a set of “material refined through repeated performance.” The more Meitei performed pieces from his Kofū trilogy, the more he refined their sound, a process akin to the formation of agate. Three pieces survive the transition from Kofū; one crosses over from Kofū II; and two are remodeled from Kofū III, only six out of thirty-four tracks, plus a new piece that launches the set. The final product extends the discussion on whether there is ever a definitive version of a track; for Meitei, the music evolves with the performer.
Joseph Branciforte & Jozef Dumoulin are kindred spirits, with their musical inclinations leaning towards improvisation, experimentation, and the testing of the limits of musical forms.
Branciforte, based in New York, constructs and produces process-based music – often implementing electronic keyboards – through his prolific label greyfade. Dumoulin, from Belgium, is recognized for his role in redefining the Fender Rhodes electric piano as a 21st-century instrument through extensive electronic manipulation. A chance meeting more than a decade ago led to the two of them recording what would become ITERAE, a record that brings together their passion for imbuing the Rhodes with electronics and processing.
Bruce Springsteen is currently on his ‘Land of Hope and Dreams’ US tour with Rage Against the Machine’s Tom Morello, a trek inspired by the Boss’ ongoing fury at the Trump regime, and in particular the killing of two Minneapolis citizens by ICE agents earlier this year.
Bruce and the E Street Band perform a 27-song set on night two at the Kia Forum in Inglewood.
Tour premieres of “Two Hearts” and “American Land” (last performed in 2017). “War”, “Clampdown” (written by Strummer/Jones, recorded by The Clash), “Streets of Minneapolis,” “House of a Thousand Guitars” (performed solo acoustic), and the show-closing cover of Bob Dylan’s “Chimes of Freedom” all appear; “Land of Hope and Dreams” is the main-set closer.
The most important inventions of the 8th century are often considered to be agricultural (horse shoes and collars, the heavy plough) or military (certain types of Viking sword and Native American arrowhead). While some of these things may have been revolutionary in their own way, this narrative plays down the advances that were being made in the social sphere, the arts, and, in particular, the realm of music. Depictions found on Pictish decorated stones suggest that thirteen hundred years ago, people in what is now Scotland were playing a harp-like instrument. That instrument became known as the clàrsach.
The striking thing about the clàrsach – other than its long history – is its potency as a political symbol. Both the Irish and Scottish forms of…
Triumvirate, pianist Billy Childs‘ fourth Mack Avenue outing, marks his first trio recording since the mid-’90s. He’s accompanied here by bassist Matt Penman (James Farm, SFJazz Collective) and drummer Ari Hoenig (Chris Potter Underground, Kurt Rosenwinkle Group). Childs has played with this rhythm section while backing others live, but this is his first ever recording with them. The program chosen for this eight-track set includes revisitations of tunes the pianist cut for Windham Hill during the ’80s, and one for Metropolitan Records during the late ’90s. There is one new composition and tunes by Thelonious Monk, Benny Golson, Miles Davis/Bill Evans, and John La Touche and Jerry Moss.
Opener “One Fleeting Instant” originally…
Clearly Dave Douglas is feeling it in 2026. The trumpeter/composer has already released the remarkable Four Freedoms this year, and now he’s lined up album #2. Transcend reunites the band with whom he recorded the exceptional Gifts: saxophonist James Brandon Lewis, guitarist Rafiq Bhatia, and drummer Ian Chang, adding the extraordinary Tomeka Reid on cello. While Gifts paid tribute to Duke Ellington’s co-composer Billy Strayhorn, Transcend salutes the man himself, with a similar blend of challenging originals and Ellington classics.
As on Gifts, Douglas takes advantage of his players’ unique skills. As members of experimental rock band Son Lux, Chang and Bhatia know how to casually kick holes in musical…
Alan Bishop’s latest album seems at first like a showcase of his music at its most rocking. But it’s also steeped in psych, folk, and desert blues, making good on Sun City Girls’ exploratory rep.
The long career of Arizona’s trio Sun City Girls went in every direction you could imagine, and many you probably couldn’t. Starting with a blast of hardcore-adjacent DIY cassettes, the band expanded its palette quickly, planting big, muddy footprints all over tons of styles and genres, some inherited and some invented. Mixing cross-cultural influences, sharp instrumental chops, and pranksterish jokes, Sun City Girls’ music (and insanely prolific release schedule) could make you wonder not only how they did it, but what exactly “it” was—and whether even they knew.
…Alongside an acoustic rendition of album standout “Surviving You,” ‘Nested in Tangles (Deluxe)’ features an extended dance mix of “A Body, A Map,” Mary Lattimore on the newly expanded “Beholden to the Birds Murmuring Above,” as well as a voice and trombone rework of its title track.
Following her critically acclaimed 2024 album Keeper of the Shepherd, composer, vocalist, guitarist, and poet Hannah Frances returns with Nested in Tangles.
…In her winding constructions and gleefully lush arrangements, once again assembled with close collaborator Kevin Copeland, the Vermont-based singer-songwriter evokes many generations of proggy, jazzy indie rock far too sophisticated…
An acquaintance recently decided that after 10 years, four albums, thousands of miles touring the world and a handful of those cringey “Ship Rocked” cruises, he was adjourning his band. The pretext involved “leaving on a high note” and that “you never hear fans or writers talking about a band’s ‘essential, groundbreaking eighth album.’”
The members of SoCal post-everything ensemble Failure might read that line and think “cool story, brah” while laughing aloud. Because as the trio delivers its seventh long player, its sense of self-awareness, internal editing and transitional sonic wanderlust remains as compelling as ever. Untethered from L.A. rock scene expectations, their sordid drug histories or the alleged need for critical pigeonholing, Ken Andrews,…
Mike Zito returns home with Outside Or The Eastside, his fourth solo studio album for Gulf Coast Records. A personal record for Mike shaped by memory, places, and renewal. Walking the streets of his birthplace, St. Louis, Zito reconnects with the sounds, stories, and hard lessons that forged his signature blend of soul-driven blues and fearless storytelling. Thirteen years after Gone to Texas, this album feels like a defining moment, marking a new chapter for Mike, his family, and a life reclaimed in the city that started it all.
The songs paint vivid snapshots of city life and personal reckoning, from late-night regret and self-awareness to raw portraits of neighbourhood survival and street-level truth. Tracks like “Downtown at Midnight”…
Five years ago, Michael Cavanagh, long-time percussion expert for psych-rock powerhouse King Gizzard and the Lizard Wizard, made his solo debut under the CAVS moniker with a self-titled effort.
The ten-song drums-only effort was an exercise in the drummer’s ability to capture a listener’s attention with exclusively drum patterns, resulting in a groovy, atmospheric effort that ultimately didn’t catapult CAVS into the solo spotlight like similar artists of his ilk. The difficult transition from band member to lone musician is a bumpy, often misdirected endeavor that rarely seems to go well for the artist who dares undertake it. Still, in traditional Lizard Wizard fashion, Cavanagh wasn’t discouraged with the difficulties of his debut, but inspired.
On their self-titled album (and their first recordings for the Thrill Jockey label) North Carolina group Setting takes rustic acoustic sounds into deep space, sitting around a cosmic campfire and creating a group sound that’s naturalistically beautiful and mysterious. The trio of Nathan Bowles, Jaime Fennelly, and Joe Westerlund work in both improvisation and composition with stringed instruments, synthesizers, and percussion, landing in a place that’s partially informed by traditional Appalachia, part droning fields of synthesis, and part meditative Krautrock repetition. All of these aspects of Setting’s sound are in play on the album’s opening track “Heard a Bubble.” The nearly nine-minute piece opens with a lonely banjo line, and is quickly joined…
With members from various groups in the Melbourne indie rock underground on board, it’s almost a foregone conclusion that Season 2’s first album, Power of Now, would be a low-key, off-kilter delight. The band – which features drummer Carolyn Hawkins (Parsnip, School Damage, and Chook Race), bassist Charlotte Zarb (the Snakes, Phil & the Tiles), guitarist Matt Powell (also Phil & the Tiles), keyboardist Claudia Serfaty (Stroppies), and guitarist Freya McLeod (herself) – whip through a half-hour of jangling indie pop gems, angular post-punk mood pieces, and jittery bedroom punk rockers along the way to making a record that stands with the best work of the groups they are associated with. The songs are all quite catchy, sometimes in a sideways…
