In the past couple of years, Spanish experimental label Rusia-IDK has released great avant pop for the chronically online: unsettling yet moving beat changes from Ralphie Choo, raucously tender-hearted production by Rusowsky, and some of the most gleefully deranged live visuals in recent memory. With slow songs from the heart and thrashing experiments that deconstruct and glitch flamenco, reggaeton, rap, and breakbeat, the collective has gained a following in Spain’s underground and even rubbed shoulders with its mainstream.
They were bound to drop the bola at some point. Enter MORI, rolling in from stage left. The Madrid-based artist’s doleful piano ballads and lo-fi torch songs were already some of…
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Status/Non-Status is the ambitious collective fronted by Anishinaabe musician, artist and community worker Adam Sturgeon. Having started as WHOOP-Szo in 2009, the band changed their name to their current moniker in 2021, but have continued to make grandiose, emotionally-driven indie alt-rock that explores everything from Sturgeon’s Indigeneity and family history, to responsibility, racism and interdependence.
The band returns with Big Changes, their first new album in three years; a sprawling, exhilarating and rightfully exhausting record that earns the anticipation. Status/Non-Status have mastered a style that is both fragile and anthemic — a rare and difficult concoction that they gracefully develop and presents with serene bombast.
Morgan Nagler has spent years behind the scenes shaping songs for other artists, quietly building a reputation as a sharp lyricist and collaborator. In addition to fronting Whispertown, Nagler has co-written with artists like Phoebe Bridgers, HAIM, and Kim Deal, and her work on Bridgers’ “Kyoto” even earned a Grammy nomination. With I’ve Got Nothing to Lose, and I’m Losing It, her first album released under her own name, Nagler steps back into the spotlight with a set of songs that feel personal, honest, direct, and grounded in strong songwriting. Produced by Kyle Thomas (King Tuff), the record blends indie rock, folk, and country touches while keeping the focus squarely on Nagler’s voice and lyrics.
The album opens with “Cradle the Pain,”…
Lolly Lee began her career playing rhythm guitar and providing the vocals for The Mortals and Split the Dark, regionally successful rock bands from the South, throughout the 1980’s. She married and dropped out of the music business whilst raising a family, and followed other pursuits, though continuing to write songs. This is now her second solo album, released following the death of her husband in 2023. The songs and their themes demonstrate this life experience and are told with a vocal that can provide grit in a Lucinda Williams style and a beauty and purity that belies her age, sometimes in the same song.
The opening title song sets out what will be the core of the instrumental players throughout the album, with Lee on acoustic, her producer,…
Emerging out of the Pacific Northwest in 2021 and later relocating to Joshua Tree, California, This Lonesome Paradise is as much a living, breathing product of its hallucinatory high-desert environment as its reverb-rattled noir-Americana is a direct reflection of it. With the new Death Motels, the quartet has taken the next step into the boundless cinematic landscape that’s been teased in its previous work.
…Musically, Death Motels is relentless. Ferocious guitars slash through the silence like blades, low-end bass churns like a storm beneath the earth, and Ray Béchard’s voice hovers somewhere between incantation and confession. Jordin Bordeaux’s spectral voice and Mellotron textures conjure an atmosphere that feels both…
Here’s something the world could always use more of: a lush ambient techno long-player, blushing with chords and rich with nuance, seamlessly sound-designed to reveal a boundless wealth of detail unfurling along the x-axis.
Mammo’s Lateral spreads its feathers across six sides of vinyl, creating a setting where it’s always that purplish time just before dusk — when the shadows are long and a spell seems to settle over the world. The timing is ripe for a record like this: Released on the cusp of daylight saving time, this is the perfect album for the onset of spring, when the lengthening days leave more time to soak up the music’s radiance.
Lateral draws from a rich well of influences, most of them concentrated in the 1990s and…
One of the smaller but more passionately enduring subcultures in the world today is that around slow dance music. The core of its audience is a Gen X crowd, a good number of whom have stuck with club culture since the mid-’90s or earlier, with others who’ve rekindled their love of electronic music in middle age: people whose knees might not be up to stomping to techno for hours, but are still deeply committed to the experience of deep and prolonged immersion in repetitive beats.
Belfast’s Phil Kieran is a key mover and shaker in this scene. Though his career began 25 years ago as a producer and DJ of high energy techno and breakbeat, as a friend and ally of the late Andrew Weatherall, he was a part of the convergent evolution towards the more…
One of the strengths of Hot Chip is the way they encourage individual band members to plough their own musical furrows. The approach has yielded six solo albums for Alexis Taylor, the singer free to explore musical directions in which his band have not yet travelled. For his latest long player, Taylor relocated to Paris – presumably in the spring – alighting at the studio of a good friend, Air’s Nicolas Godin.
While Alexis has an instantly recognisable voice, the music on Paris in the Spring paints a very different picture to the club-based yearnings and dancefloor celebrations of his band, which appear only intermittently. Now the layers are peeled away, the listener given an unexpectedly searching portrait of Taylor’s soul.
By the time they released Lotus Bridge in 2026, The Monochrome Set had been making records off and on for almost fifty years. Most bands in a similar situation are either nostalgia acts or have been reduced to making records that chase trends or come off as pale imitations of their best work. The group have avoided all these fates and since they reformed in the mid-2010’s, they’ve been making one excellent record after another that have all the spark and invention of their early work, plus an extra layer of confidence and wisdom. This album is no exception. It’s a thoughtfully written, perfectly produced, wonderfully played, and open-heartedly sung listen presided over by the evergreen voice of Bid. The songs revolve around recurring dreams the singer/songwriter had been…
Wake by singer/songwriter Foy Vance marks the end of a 26-year, seven-album project that began with the death of his father. In 1999, while playing a gig in Spain, the Belfast-born artist experienced a transcendent moment on-stage. The next morning he was informed of his father’s death from a massive coronary on that very night. Overcome by grief, he experienced a galvanizing clarity that gave him the resolve to create seven albums informed by his father’s example, each to signify his growth as an artist. Vance’s dad was a traveling preacher who moved the family from Ireland to the American South and pointed to his son’s vocation by teaching him to play guitar in early childhood. Vance’s first outing since 2021 marks the occasion of Vance bringing in Ethan Johns as…
Throughout his career, Chicago-based trumpeter Marquis Hill has traced and celebrated Black life, while reflecting a hard-spun hope in everyday life. Further, the Black Church has remained influential on his art and spirituality. (Beautifulism) Sweet Surrender is a ten track EP, that focuses its sound and creative gaze on spirituality and transcendence with an audacious cast. The core players include guitarist Emmanuel Michel, bassist Junius Paul, saxophonist Josh Johnson, drummer Marcus Gilmore, percussionist Juan Pastor, and a slew of guests including Makaya McCraven, vocalists Amyna Love, Zacchae’us Paul, and Manessah, and rappers Cisco Swank and Kumbayaaa. The music on this 34-minute set dances a loose line between contemporary jazz, neo-soul…
A Portal to Here is the 4th long-player from U.K.- based spiritual jazz ensemble Work Money Death, and their first following the death of guitarist Chris Dawkins. The core members — saxophonist Tony Burkill, bassist/producer Neil Innes, drummer Sam Hobbs, and percussionist Sam Bell — are joined by Sorcerers’ pianist Johnny Richards, harpist Alice Roberts, baritone saxophonist Ben Powling, Richard Ormrod on woodwinds, and Kev Holbrough and Steve Parry on brass. The themes of death, grief, and remembrance are threaded throughout four lengthy tracks.
“Pain Becomes Prayer and the Prayer Becomes a Song” is a dirge introduced by sparse bass and harp in a dark, slow groove. When Burkill joins, the modal vamp expands as he articulates…
Laurel Halo composed the score for Midnight Zone, a film created as part of an installation by Julian Charrière. The film is a lighthouse lens’ voyage deep into the Pacific Ocean, revealing all manners of underwater life, from the fascinating to the frightening. Even without the visuals, the score perfectly encapsulates the feeling of drifting deeper and deeper into the darkest recesses of the ocean, a sensation filled with both wonder and fear. The 11-minute opener “Sunlight Zone” is absolutely mesmerizing, with distant, almost thundering bass shuddering beneath waves of slowly shifting strings. As the lens gets farther away from the surface, the music gets heavier and cloudier, until it manages to clear out a bit by the end. The other pieces generally illustrate similar…
When Chicago five-piece Brigitte Calls Me Baby released their debut album in 2024, they offered up an alluring mix of yearning new wave and heartbroken retro-rock made all the more evocative by lead singer Wes Leavins’ towering vocals, which split the difference between Elvis Presley (whom Leavins has portrayed on-stage) and Morrissey (who himself was influenced by Presley and “the U.K. Elvis,” Billy Fury).
On the follow-up, Irreversible, Leavins and band lean fully into the lush, pining sound of ’80s New Romantics while leaving Elvis behind but bringing along a strong Smiths sensibility. While the Morrissey comparisons are inevitable this time around, Brigitte Calls Me Baby put their own soaring, lovesick twist on influences…
Los Angeles-based six-piece The Sophs landed a record deal with Rough Trade after cold-emailing demos to 30 independent labels and hearing back from two; the other one was a rejection.
It’s easy to understand both of these reactions upon hearing GOLDSTAR. A mercurial debut album that’s also quite theatrical — think Kurt Weill and rock opera — it indulges in multiple genre send-ups during its alt-rocky journey through the head of a frankly loathsome narrator. Singer/lyricist Ethan Ramon has described the persona as part character and part a depository for brutal honesty and intrusive thoughts.
They go all-in with this idea on the opener, “THE DOG DIES IN THE END.” A song partly about watching a neighbor walk his…
The themes that weave through Mud Blood Bone, the fourth record from Canada’s Cat Clyde, tackle large, universal ideas. Yet, it’s her gift for writing deeply personal lyrics that gives the album both depth and a striking sense of intimacy. From the remarkable opener “Where Is My Love,” which explores longing and absence, to the strikingly beautiful “Night Eyes,” a song about breaking free from a toxic relationship, the record moves through familiar emotional territory while feeling as confessional as reading someone’s diary.
Mud Blood Bone finds Clyde at her most confident lyrically, while the music moves effortlessly between folk, Americana, and blues. Those blues elements are immediately apparent on the album opener, “Where Is My Love.” The song…
…features five brand-new additions: four acoustic “live off the floor” versions recorded with guitarist BJ Baartmans and a new single co-written and recorded with Luke Doucet and Melissa McClelland of the band Whitehorse.
Memories often seem to gravitate around specific songs, which stick in your mind as some of the defining pieces of a particular time or place.
They hide in the recesses of your brain, awaiting the next time you’ll listen to that particular song again, and everything will come flooding back. Music defines different periods of your life, but it can also help you better understand them.
That is, if, like Suzie Ungerleider, you’re lucky enough to have the talent (and courage) to translate your experiences into music.
It’s unfair to say that Fleetwood Mac had no pop pretensions prior to the addition of Lindsey Buckingham and Stevie Nicks to the lineup in 1975. When they were led by Bob Welch they often flirted with pop, even recording the first version of the unabashedly smooth and sappy “Sentimental Lady,” which would later be one of the defining soft rock hits of the late ’70s. Still, there’s no denying that 1975’s Fleetwood Mac represents not just the rebirth of the band, but in effect a second debut for the group — the introduction of a band that would dominate the sound of American and British mainstream pop for the next seven years. In fact, in retrospect, it’s rather stunning how thoroughly Buckingham and Nicks, who had previously recorded as a duo and were…
