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Michael Dease, widely admired as one of the world’s foremost jazz trombonists but rather less-known as an educator, dons his professorial garb on Spartan Strong, supervising a splendid session by a special corps of undergrads (and students in his trombone studio) who together comprise the MSU (Michigan State University) Jazz Trombones, 23 members in all when one counts Dease and the group’s half-dozen bass trombones.
Dease lets the students have full rein, soloing only twice (on Steve Turre’s smoothly walking “Groove Blues” and Oscar Pettiford’s fast-paced and dazzling closing theme, “Blues in the Closet”). There are brief respites from the trombone avalanche courtesy of guest artists Benny Benack III (who sings on the standard…

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Less than a year after her luscious solo debut, Pacífico Maravilla, Nidia Góngora returns, this time as the frontwoman of Nuevos Ríos. Alongside her are members of her longtime group, Canalón de Timbiquí, and Toulouse-based Reco Reco, an ensemble that focuses on plugged-in renditions of South American styles. Together, the collective perform lively, electrified versions of music from Góngora and Canalón de Timbiquí’s finely honed repertoire, continuing to bear witness to the traditions and lifeways of the Pacific coast of Colombia for audiences worldwide.
Nuevos Ríos’ self-titled debut is nothing short of astonishing, a clear continuation of the work Góngora and her compatriots have long been doing, and yet something that feels wholly new.

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…Tenderness was born out of a tough storm of circumstances: the pandemic, a cancelled tour, a break-up, and the loss of her father. Furloughed and with too much time on her hands, Katy Beth Young (Peggy Sue, Deep Throat Choir) began to write new songs in her north London living room, windows wide open to the hot summer outside. In August 2020, during that “weird window” of the pandemic where lockdown eased up enough for a trip to the seaside, or across London, Young visited producer Euan Hinshelwood (Younghusband, Cate Le Bon) at his Greenwich studio. In two days, the pair recorded eight demos with no pressure or plan. The final recordings are sparse in that country way but layered with Hinshelwood’s carefully chosen textures: synths, drones, rich…

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Florian T M Zeisig is one of contemporary ambient music’s preeminent shapeshifters. The Berlin-based producer first made waves in late 2020 with You Look So Serious, a compilation of Enya edits that distilled the singer’s voice down to a distant emanation. Since then, he’s set his talents to throbbing neurodrone, skunky spiritual jazz, West Mineral tropical unease, and a fantastic album about working at a nightclub that sounded like a party heard through the wall. His latest endeavor is a rotating collective with a name so florid it makes Thinking Fellers Union Local 282 seem like a perfectly modest moniker, and the theme this time is rock music, stripped of orthodoxy.
Zeisig assembled The Thinking of the World Began Pounding in Our Ears the Moment We Hit Shore…

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Out of a ten-day dog-sitting stint in the countryside came Milwaukee-based singer-songwriter Maximiano’s second release: Rokeby. Rokeby is the name of a historic district in upstate New York, along the Hudson Valley River. It happens to be where Maximiano crafted these songs, but it is also a place named after Sir Walter Scott’s Rokeby, an epic poem set during the English Civil War, a time of chaos and division.
There are a few things at work here. The rural aspect comes through the album’s folkier cuts and arrangements. As far as Scott is concerned, the songs in Rokeby reflect a literary streak to the singer-songwriter, with lyrics referencing Rilke, Max Porter, Dickinson and Highsmith; but thematically, they also express…

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Why are some harmonies so pleasing to the human ear? Actually, to the human brain. A physicist might answer that it is due to simple mathematical frequency ratios. Well, maybe simple to a mathematician, but Greek to an arithmophobe. But not ‘Greek’ to some actual Greeks, such as Plato, who were on the vanguard of trying to answer what is truly an ancient question. So, 2,500 or so years later, what is the answer? Don’t know, don’t care. But you know it when you hear it. And you are going to hear a ton of it on Rebel Joy, the debut album by americana duo Roswell Road.
The harmonies that saturate this album might lead one to believe they are so-called ‘blood’ harmonies, also known as ‘sister’ harmonies, to denote the type of perfectly matched voices…

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Rennes-based, self-described feminist punk trio Île de Garde have an unusual configuration; synths (Cécile Aurégan), drums (Morgane Poulain) and low-key, mostly spoken word vocals (Klara Coudrais), but it proves to be a flexible and mostly powerful one. This six-track EP or mini album is their first release and it’s promising and varied enough to wish it was a full album, though not all its strands are equally thrilling.
Looking analytically at their songs, it becomes clear that Poulain is central to Île de Garde’s appeal. The synths are generally retro-‘80s flavored and provide the melodies, and the vocals range from delicate to imperious, but it’s the drums that seem most of all to determine the character of each song, with one exception that proves…

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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…

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“Bariken” is a 2004 album by Merzbow, and as its title suggests, the theme of this work centers on the Bariken itself. The Bariken, also known as the “Taiwan Duck,” is a species of duck and has some characteristics that are its vivid green and ultramarine plumage and the red caruncle that extends around its bill and eyes.
Around 2003, I happened to notice a peculiar-looking duck in a river near my home. Upon investigation, I learned it was a Bariken — likely one that had escaped or been abandoned after being kept for food, subsequently adapting to the wild. There were also Bariken inhabiting the pond of a nearby Japanese garden. At the time, it was common to see ducks swimming in the rivers and ponds of Tokyo. A few years later,…

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From joyful dancefloor productions to funky Afro-pop, reggae and gorgeously melancholic numbers, David Walters’ new album is an expansive affair. With a gang of guest producers including Captain Planet, Blundetto and Art of Tones onboard, the Franco-Caribbean multi-instrumentalist continues along the vein of his 2023 Soul Tropical album: a maximalist channeling of eclectic Afro-Caribbean themes, so brightly coloured that it often masks the personal burdens carried in his lyrics.
Always a great collaborator, Walters is joined by Fatoumata Diawara, Keziah Jones and Philo, who add their wonderful vocal talents to standout songs. However, the soul of the record remains Walters’ clear voice and guitar, the full-bodied production never obscuring how…

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Hype’s a dangerous thing, especially for a new artist, but trumpeter Dave Adewumi doesn’t disappoint on his debut outing, captured live at Ornithology in Brooklyn in July 2024. Testifying to the glowing endorsements he’s received from Jason Moran, Mary Halvorson, and others are the musicians joining him on the set, vibraphonist Joel Ross, bassist Linda May Han Oh, and drummer Marcus Gilmore. Adewumi couldn’t have asked for better partners, all three first-call players with solid careers of their own. His horn’s all over the date, Adewumi’s assertive attack making good on Moran’s description of him as a player of “fearless charm and reckless rigour.”
It might appear as if Adewumi’s suddenly arrived, but in fact he’s been steadily…

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waxing | waning is the third album release from the Glasgow based trio Taupe and follows Fill Up Your Lungs and Bellow (2017) and Not Blue Light (2020). The band also released the EP Get the Keys in 2019. Comprising Mike Parr-Burman (guitar, bass guitar, electronics), Jamie Stockbridge (alto and baritone saxophones) and Alex Palmer (drum kit, percussion), Taupe work up a storm of skronk, free jazz and harmolodic frenzy whose closest relations include Zu, Melt Banana and John Zorn.
…The interlude subtitled ‘Stride’ sounds like a sea returning to still. Stroked percussion alongside a silvery, droning undertow provides a respite following the almost-nauseating whirl of ‘Anti-Bird-Spike-Bird-Nest, which begins with droned notes interrupted by…

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Previously known as a member of Afrobeat fusionists NOMO and for his introspective indie rock songwriting as In Tall Buildings, Erik Hall reached a new audience with his acclaimed solo recordings of minimalist works during the 2020s. Turning the genre on its head, he recorded Steve Reich’s Music for 18 Musicians by himself, multi-tracking all the instruments without any pre-programmed arrangements or loops, and he did the same with Simeon ten Holt’s Canto Ostinato. Following Solo Three, which included pieces by Glenn Branca, Laurie Spiegel, Charlemagne Palestine, and Reich, Hall released a different version of Canto Ostinato, this time performed with two of his regular collaborators, Metropolis Ensemble and Sandbox Percussion.

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Following albums made in his home state of New Jersey, across New York State, and while living in rural Pennsylvania and New Hampshire, John Andrews‘ fifth LP was written and recorded after a move to the industrial, maritime neighborhood of Red Hook, Brooklyn. Its working-class setting and Andrews’ seasonal job with N.Y.C. Parks both work their way into the warm, reflective fabric of the self-produced Streetsweeper. It also marks his relocation from the Woodsist label to Earth Libraries. This time around, Andrews’ semi-fictional band the Yawns consists of Luke Temple (bass, guitar), who also engineered the album, as well as his returning Cut Worms touring bandmates Noah Bond (drums) and Keven Lareau (bass). Star Moles’ Emily Moales lends backing…

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If 2025 was the year the UK reclaimed its rock ‘n’ roll crown with the Oasis reunion, 2026 is officially the year Richard Ashcroft reminded us why he was always the movement’s beating heart. Fresh off his massive stint as the special guest on the Oasis Live ’25 tour, Ashcroft has dropped Live Vol. 1, a career-spanning collection that feels less like a standard live album and more like a victory lap.
Recorded during his triumphant run of shows following the stadium mania of the previous year, Live Vol. 1 captures Ashcroft at his most potent. From the opening chords, it’s clear his voice hasn’t aged a day; if anything, it’s gained a soulful, weathered depth that adds new layers to classics like “The Drugs Don’t Work” and “Sonnet.”
The production strikes a perfect balance.

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It’s tempting to describe guitarist Rick Vito as an incredibly accomplished backing musician best recognized by those who scour small print credits on their favorite CDs.
And while he has supported dozens of headlining names led by Bob Seger (that’s his famous solo on “Like a Rock”), Bonnie Raitt and John Fogerty, anyone who replaced Lindsey Buckingham and toured with Fleetwood Mac for four years can hardly be considered obscure.
Vito was also a member of Mick Fleetwood’s Blues Band, a side project that nonetheless was GRAMMY nominated. He has also released about a dozen albums under his own name, starting with 1992s debut, and also designs Art Deco and Modernistic guitars. And he’s a better…

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At the end of 2024, Michael Weston King and Lou Dalgleish shared their first artistic reactions to the loss of their granddaughter Bebe King, at Southport with a select group of supporters in the media. The two songs, ‘Sally Sparkles’ and ‘The Empty Swing’, hinted at a new direction for the duo who make up My Darling Clementine.
“The events of summer 2024 not only changed the music they were making and the songs they were writing, it also altered their outlook on life. Recognising that everyone’s grief is individual, even that of a husband and wife, Michael and Lou needed to channel their suffering via their own individual creativity and in their own way, rather than in collaboration as My Darling Clementine, so they worked on two solo albums.”

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Minneapolis trio Spaceport is back with their second album Cut the Lake, with many missing their first offering Window Seat (2023).
Maybe this time around that initial slip will be corrected, as the band’s creative force, multi-instrumentalist and songwriter Arianna Wegley, seems be in full form.
Spaceport’s sound might be in that nether ground many indie bands operate in these days – the subdued guitar rock full of quality melody hooks, with added elements from elsewhere.
Spaceport’s added elements though cover quite a wide ground – on that indie rock base they add folk, classical, and ambient/electronic sounds. Of course, the possibility of a sound mess is there, but Wegley and her band seem to swim…

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