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Maria Taylor started working on Story’s End — her latest LP — six years ago, beginning with a handful of quiet, stripped-down demos in her home studio. There was no real rush to follow up her 2019 self-titled effort, but fractures in both her marriage and a close friendship found her leaning back into these songs once again.
The result is both beautiful and heartbreaking. Songs of marriages and friendships falling apart sit alongside moments of optimism and renewal, making Story’s End an emotionally powerful journal set to a lush soundtrack. The opening title track features Taylor’s hushed vocals floating over a maudlin piano before strings — and eventually drums — enter the mix. It’s a deeply affecting opening salvo.

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Before a single note of music was played at the opening night of the 2026 Land of Hope and Dreams Tour, it was clear this wasn’t going to be a typical Bruce Springsteen and the E Street Band concert. In a break from decades of tradition, the band walked onto the stage in total darkness, visible to the crowd only in hazy silhouette. Springsteen came out last, and addressed the capacity crowd at the Target Center in Minneapolis, speaking much like he did at the city’s No Kings rally a few days earlier.
“I want to begin the night with a prayer for our men and women overseas,” he said. “We pray for their safe return. The mighty E Street Band is here tonight to call upon the righteous power of art, of music, of rock & roll in dangerous…

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…4CD deluxe edition include the remastered original album, previously unreleased demos, John Peel Sessions (some never broadcast), and unreleased 1979 concert from Troon.
…Originally released in 1979, Stiff Little Fingers were Ireland’s answer to both the Clash and the Sex Pistols. They had the personal and political stance of the former, and the noisy, pissed off, slash-and-burn musical aesthetic as the latter. Fronted by guitarist and songwriter Jake Burns (he collaborated with journalist Gordon Ogilvie), SLF took off with their two singles “Alternative Ulster,” and, for that time, the utterly out of control screaming that was “Suspect Device.” These two singles make the purchase price of the album a priority. They represent barely contained youthful…

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With Elephant, trumpeter and composer Adam O’Farrill reaches a new artistic peak in modern jazz. Leading an exceptional quartet of rising New York musicians — pianist Yvonne Rogers, bassist Walter Stinson, and drummer Russell Holzman — O’Farrill performs in top form throughout, drawing listeners into intricate rhythmic and harmonic frameworks shaped by remarkable breath control and unconventional phrasing.
The program unfolds imaginatively with “Curves and Convolutions”, whose initially mechanical yet fluid motion opens into a fearless, genre-blurring language that incorporates modern classical, new music, and avant-garde influences. O’Farrill delivers a striking solo over a septuple-meter passage before the piece resolves…

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Luminosity is the latest addition to my evolving body of trio work.
As I continue to move forward as both a pianist and composer, I’m looking more and more for directness in my music. In keeping my material somewhat simple, there’s room for complexity to emerge through the trio’s improvisations. This might be the first recording of mine that fully embraces that idea.
The title Luminosity hints at a theme of illumination — clarity in both ideas and textures. It feels as though I’m shedding light on my musical concepts, making them more vivid and immediate for the listener. But I’m also interested in the common human element of one’s own inner light that we all share. This fascination with light…

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Good As True, the 12th studio album from Yonder Mountain String Band, leans into a warm, expressive sound – bluegrass shaped with an indie edge, rock undertones, and a hint of country. Recorded live in the studio, its eight original tracks trace romantic, personal, and societal relationships and the work it takes to stay connected.
The lead single “Brand New Heartache” pairs rock-driven verses with a bluegrass-lifted chorus as it follows the fallout of a breakup and the uneasy hope of starting again, while “Blind” opens with a striking instrumental riff that lingers long after the song ends, while its lyrics confront regret, mental health struggles, and the pull to become something better. “Long Ride” delivers a sharp, sarcastic look at life in a touring band…

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The Shits have been a band for a little under nine years and Diet of Worms is their third album. Neither of which is especially eye-catching as statistics go, but noteworthy in the context of the Leeds DIY punk scene in which they originate, where bands (including ones featuring members of The Shits) frequently rise and fall leaving hardly any documented evidence they were there. A lot of the groups who historically pre-empted the sound heard on Diet of Worms – noise rock, pigfuck, scum rock, sludge punk or some other microgenre terminology – didn’t stick around for anything like this long either, implosive tendencies being a common issue.
So while The Shits’ notoriety has been boosted by the rowdy aura around them,…

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Clearlight was formed in 1973 and was the vision of gifted pianist and composer Cyrille Verdeaux. The first work to appear under the Clearlight name was ‘Clearlight Symphony’, recorded in 1973 and 1974 and first issued by Virgin Records in early 1975. The album was notable for featuring Gong members Steve Hillage, Tim Blake and Didier Malherbe. The follow-up album, ‘Forever Blowing Bubbles’ was recorded in the summer of 1975 and featured a full band formed by Verdeaux and former King Crimson violinist David Cross guesting among others.
1977’s ‘Les Contes du Singe Fou’ was recorded with a full band who now included former Magma violinist Didier Lockwood and was a fine fusion of jazz, psychedelic…

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Glorious Mahalia is Kronos Quartet‘s third release for Smithsonian Folkways. It follows 2020’s Long Time Passing: Kronos Quartet & Friends Celebrate Pete Seeger, and 2022’s Mỹ Lai. It’s an homage to gospel singer and activist Mahalia Jackson’s work, music, life, and friendships. The idea for the album appeared to Kronos founder David Harrington in 2013 after seeing Clarence Jones, Dr. Martin Luther King, Jr.’s lawyer and speechwriter on TV discussing King’s “I Have a Dream” speech from the 1963 March on Washington. Jones provided King with written thoughts, about 15 paragraphs’ worth. As King spoke what he had been provided, Jackson, who had sung before him, was sitting near King and said, “Tell them about the dream. Tell them about the dream, Martin.”

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After an album– 2021’s For Allting — where they added new wave polish to the furious indie pop with teeth sound, Makthaverskan come roaring back to full power on 2026’s Glass and Bones.
The group are at their best when the raucousness of the music matches the unstoppable energy and passion of singer Maja Milner. She’s in fine form here and the band are too. It’s a bracing album that sounds like a collection of hit singles, broken up by the occasional stripped down and stark ballad. Yes, ballad. On two songs — “Black Waters” and “Anytime’ — the band step out of the spotlight almost entirely and let Milner take centerstage and get her long-deserved close up. It’s a stunning shift and on first listen it’s easy to wish for the return of the full band and all their…

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The first 2026 release from Adrian Younge and Ali Shaheed Muhammad’s Jazz Is Dead label is a collaboration with legendary Brazilian singing/songwriting duo Antonio Carlos & Jocafi. The pair — both from Salvador, Bahia — have been working together since the late 1960s and have not only recorded their own hits but delivered them for dozens of other artists as well. This is the pair’s first new recording since the 1990s. Muhammad and Younge were in Brazil in 2022 when they were introduced to Antonio Carlos & Jocafi by Baiana System’s Beto Barreto. The men hit it off and made tentative plans to record together. In 2025 Antonio Carlos & Jocafi came to play the Jazz Is Dead club. Younge and Muhammad set them up in their studio with a hip band, and a backing…

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…remastered edition with bonus tracks.
As the title suggests, Akira Kosemura‘s entrancing Polaroid Piano is a wistful meditation for minimal piano and field recordings, bleached out with old light. The glitchy electronics of Kosemura’s prior work are gone. The music is so hushed you can hear the action of the pedals, the keyboard shifting in the body of the piano. This quiet rumpus serves as a relaxed rhythm track — one suspects Kosemura mic’d the piano to capture these extraneous sounds, drawing them purposefully into the music. The gesture is Cagean, but the questioning, wonder-filled style is pure Satie. The cover art captures the mood perfectly, although a blue sky filled with kites and balloons would have been just as apt.

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This tenth anniversary edition of Venetian Snares’ ‘Traditional Synthesizer Music’ adds ten bonus tracks and alternative versions originally available only on limited edition compact disc from the artist’s Bandcamp.
For an artist whose recordings typically consist of intensely edited, sample-heavy sonic constructions, the “traditional” way to go about making music is to spend countless hours programming an overwhelming modular synthesizer system that takes up an entire room. Aaron Funk has explored analog synthesizer music before, but he usually saves this type of work for his Last Step moniker, which veers toward acid techno rather than the frenetic breakcore of his more well-known guise, Venetian Snares.

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2026 marks the 20th anniversary of Nightmares On Wax‘s (George Evelyn) seminal In a Space Outta Sound, as a dub clash with On-U Sound producer and mixing desk wizard Adrian Sherwood titled In a Space Outta Dub, revisioning eight of the 2006 album’s songs. While the original tunes remain recognizable, Sherwood adds his own visionary sonic signature full of humid warmth, languid rhythms, and sultry grooves
Opener “You Bliss” is a sonic redesign of “You Wish.” The original William Bell Stax guitar sample remains, but it’s submerged by smoky saxophone and an organ that sounds like it was lifted from the Doors’ LA Woman sessions. Sherwood’s trademark dread bassline is boosted, heavily reverbed, and echo-laden. It sounds quite…

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Let’s look at the numbers: John Williams has been on this mortal plane for 93 years, and has been composing for visual media for 73 of those years. Compact discs have been a part of music lovers’ collections for at least four decades, and the “art” of John Williams on CD – a real, curatorial approach to his iconic film scores – began in earnest more than 30 years ago, when the 4CD box set Star Wars Trilogy: The Original Soundtrack Anthology hit record stores in 1993. From basic compilations like Greatest Hits 1969-1999 to hefty box sets covering his material recorded with The Boston Pops and other orchestras on two labels between the ’80s and the ’10s – not to mention the Herculean restoration work of remastering and expanding Williams’ scores beyond…

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The album Reach Their Final Destination and Play Their Greatest Hits by Geof Tick & the Howling Fantods is a masterclass in conceptual noise and experimental soundscapes, released in early 2026 under the Easyriders Noise imprint.
Despite the title suggesting a conventional “Best Of” compilation, the record is anything but. It functions as a dense, atmospheric journey that feels more like a career-spanning manifesto than a simple collection of tracks. The album leans heavily into the “extreme sound” aesthetic typical of the label. It blends harsh industrial textures with moments of haunting, melodic decay. Geof Tick utilizes the “Howling Fantods” moniker to explore themes of finality, transition, and sonic exhaustion. The “hits” here are reimagined…

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Angine de Poitrine are the most thrilling Canadian mystery since David Cronenberg’s The Shrouds. Though the anonymous Québécois duo had been gigging quietly around the Great White North for years, a single KEXP session last December at France’s Rennes Festival rapidly made them viral superstars. In bobbing paper-mâché masks and monochromatic wardrobes, these two “space-time voyagers”—known only as Klek de Poitrine and Khn de Poitrine—make weirdly danceable math-rock for muffled drums and comically fretted microtonal guitar. Self-described as a “Mantra-Rock Dada Pythagorean-Cubist Orchestra,” they’ve managed to rack up better view counts than the Tiny Desk Concerts from Clipse and Weezer. A copy of their debut, 2024’s Vol. I…

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Live and Acoustic presents Trey Anastasio at his most stripped-back and introspective, capturing a series of performances from his sold-out 2025 Spring Acoustic Tour. Produced by Vance Powell and featuring longtime collaborator Jeff Tanski on keyboards, the album offers a focused and intimate listening experience.
Spanning 22 songs drawn from across Anastasio’s four-decade career, Live and Acoustic highlights the strength of his songwriting in its purest form. Without the expansive arrangements often associated with his work, the songs are allowed to breathe, revealing their melodic core and emotional depth. Fan favorites such as “Stash,” “Waste,” “Divided Sky,” and “Pebbles and Marbles” take on a new dimension in this setting…

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