Described as a “musical poem”, Mount Analogue is a lengthy meditation on the works of avant-garde poet and writer René Daumal that’s passed from Bill Laswell and P.St (plus an ensemble featuring Nils Petter Movaer, Anna Clementi, Hideo Yamaki and others) to guitarist Henry Kaiser.
Mount Analogue is named after Daumel’s most well-known book, the self-styled “Novel of Symbolically Authentic Non-Euclidean Adventures in Mountain Climbing” that emerged almost a decade after his early death at just 36 in 1944. That text is excerpted here on the album-length title composition, that Czech experimental sort P.St leads on electronics alongside Laswell, Kaiser, vocalists Clementi and Percy Howard, percussionist Yamaki, cornet player…
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But a single listen to Heart Songs is required to recognize how natural a fit Cassie To is for Nat Bartsch’s Amica Records imprint. As the eight pieces featured on the thirty-three-minute album reveal, the Sydney-based To composes music possessing many of the same qualities that distinguish Bartsch’s own: heartfelt, intimate, elegiac, and harmonious neo-classical settings that couple piano, strings, and painterly dashes of woodwinds, synthesizers, and electronics into transporting chamber wholes.
Jeffrey Ericson Allen’s 
“I find the Scritti Politti syndrome absolutely hysterical,” said Duran Duran’s fedora-topped bassist John Taylor, reviewing the singles for Melody Maker in September 1982. “All these… radical Rough Trade bands suddenly deciding they want to be pop stars. They seem to have everything right but the songs. They have no perfect pop writers.” Taylor could speak with commercial authority at least, but the tell was he’d heard about Scritti Politti and their scheme to invade and master pop. Green Gartside’s new doctrine had spread in mere months.
Listeners could be forgiven for thinking 
On their debut album 
Although it still contains signs of the project’s distinctive blend of earthy folk-rock, woozy psychedelic pop, and whimsical electronics and effects, something feels more than a little more mature and serious on Johnny Lynch’s sixth 
There’s an almost supernatural quietude in 
“I hate this country, and I hate this island – but sometimes the people make it all worthwhile,” sings Simon Tyrie on ‘Space un the Cab’, the wonky disco banger that kicks off 
Damon Albarn’s perspective seems to be firmly placed on Gorillaz, so the arrival of Uncommon Side Effects fills a gap in the market of rapier-sharp and kinetic pop. The album, fronted by Marc Valentine, could easily have been released in 1996, given its bouncy choruses and soaring guitars. Bassist Richie Poynton unveils his inner Alex James, especially on the hybrid art piece “High in the Underground”. Valentine’s imprints are unapologetically British, splashing and dabbling about London nights based on youthful reverie.
It was something of a miracle how long 
To an outsider, Ashley Monroe is a Nashville success story. As she wrote in her Instagram post heralding the release of her latest record, Dear Nashville, during the past 23 years, she has released six solo albums, released four more with Pistol Annies, co-wrote two songs that went to number one on country radio, and has been nominated for Grammy Awards three times. She’s accomplished much more than the typical singer-songwriter looking for glory in Music City.
Esoteric Recordings present the release of 
Making music that’s jittery, neurotic, darkly comical, but also powerfully catchy, the 
With the release of 
Celebrating 20 years of Frank Turner’s solo debut EP 
With the release of 
Based in Gothenburg, Sweden, the eight-piece collective