It’s been over 80 years since Robert Oppenheimer stood in the New Mexico desert and quoted the Bhagavad Gita, and we haven’t stopped imagining a world in which someone actually pressed the damn button. Thanks to the movies, we know what the ruins and the barren spaces might look like — but what would they sound like? A series of fractured transmissions, Phew and Danielle de Picciotto’s Paper Masks is a soundtrack for the post-apocalypse. Across eight tracks, Paper Masks plays out like a conversation between desolate souls who can’t tell if anyone is on the other end, but still they keep sending the signal.
Phew has been a constant in Japan’s underground scene since her time fronting post-punk pioneers Aunt Sally before collaborating…
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Sugar On My Blackbeans is the third release from Venezuelan-born, UK-based guitarist Aleph Aguiar. It follows on from Pataruco (2015) and Maku (2017). He has spent the intervening years working with Tony Kofi, Elton John and Georgia Cecile and served as the guitar and singing coach for Simon Bird for the 2014 The Inbetweeners 2 movie. Additionally, he has collaborated with numerous dance artists, composing music to accompany their choreography.
That varied background serves him well on this quintet album, as he brings an assortment of approaches to his tribute to the swinging Latin jazz of the 1960s across nine original compositions. Typically, that era would suggest a combination of saxophone and piano.
Portland folk singer Jeffrey Martin releases one full show, Alive July 25, 2025, recorded at Portland’s The Showdown, with 16 tracks, unedited, overdub-free, and unsequenced. Sam Weber (Madison Cunningham, Anna Tivel, Bahamas) joins Martin on acoustic and electric guitars. Weber also recorded and mixed the record. Only five of these songs appeared on his acclaimed 2023 Thank God We Left the Garden. The others are selected from his sixteen-year recording career, along with a cover of Neil Young’s “Out on the Weekend,” along with a new song, ‘1519.”
Martin opens with “I Know What I Know,” in one sense an anthem of the well-informed, as Martin articulately points out that hate survives on a lack of information; it can’t function without it.
Born in Argentina and raised in London, Malena Zavala earned critical plaudits for the DIY bedroom pop of her 2018 debut album Aliso. Her 2022 follow-up effort La Yarará found the singer-songwriter exploring her roots across a variety of Latin American styles.
This third album returns to the guitar pop of that first salvo but with a more mature, fleshed-out sound. While South America is still an ongoing inspiration in her work, here its influence is more thematic. Inspired by a road trip from Chile down to Patagonia in Argentina, the music has a softly melancholic tone.
The spare guitars and echoed vocals of ‘Only Thing That’s Right’ and ‘Lost in the Depths of the Andes’ are enlivened by the lusciousness…
Guitar anthems: they were all the rage during the 1970s and 1990s, but have become less prominent in the mainstream in recent years. The Arctic Monkeys, clattering hooks and epithet-coated choruses in 2006, moved away from the genre in 2018 for croonier melodies. Legacy bands Manic Street Preachers, Guns N’ Roses and My Bloody Valentine proudly carry their instruments, blasting power chords into the prying audience, every plectrum bearing an attitude and confidence. It’s becoming harder to think of a younger equivalent, so it’s a relief to find KEELEY’s Girl on the Edge of the World. Rock guitars form the central DNA of the record, for all the glory it can muster.
“Who Wants to See the World” starts with reverb playfully echoing around the speakers,…
Clémentine March is a French British singer and multi-instrumentalist based in London, and if a first thing that comes to your mind is a possible connection to Stereolab, formally there isn’t one. Musically, though March’s latest album Powder Keg has all the trademarks of a great new Stereolab album.
Oh, and March is not a copyist, but like Stereolab, her musical style is so hard to pin down, as she veers all over the place, from sixties pop musings whether it is the psych pop or French yé-yé, or Brazilian Bossa to krautrock and anywhere else that she fancied at that moment.
And she does it with some great flair, whether she takes on the instrumentation herself or whether accompanied by quite an excellent…
My World Is the Sun, from Québécois vocalist and songwriter Dominique Fils-Aimé, is introduced by her Haitian mother, Claudette Thomas, singing “Ma Mélodie” from an old ’70s-era cassette. Its placement inspires the entire 15-track set. My World Is the Sun offers lyrics populated by the elements, weather, the sun, and the moon sung in both French and English. Fils-Aimé’s voice lies at the center of 21st century soul, jazz, pop, folk, and blues. The album is nocturnal, warm like a bath, and yet gently mercurial in its subtle abstractions. “Sea of Clouds” opens with the sounds of waves crashing against the shore. Keyboardist David Osei Afrifa offers a dark, subtle synth drone under her vocal, appended by percussion, chimes, and a wordless, chantlike lower-register…
Ten thousand years ago, a man died in what would become Somerset. His bones waited in a cave until 1903, when they were discovered and given a name: Cheddar Man. Now he’s the subject of a song by Voka Gentle, who use his story to contemplate what we’re doing to the places where people have lived for millennia. “Let’s say the sea levels rise and we lose north Somerset, which, by the way, is looking increasingly likely…” William J Stokes’s voice is dry, conversational, with the studied neutrality of a local news presenter. Beneath it, the music shuffles and twitches, glassy and off-kilter; post-punk refracted through Laurie Anderson’s deadpan intelligence.
The album circles power from multiple angles: a photoshoot, a Greek tragedy, a preacher…
Isabel Pine has been quietly releasing independent EPs for a while now, and it was high time that a label like Kranky would pick up her new album release, Fables. And it all seems to fall into place, with that quiet description, the album title and cover, telling a bit about what is going on here.
Pine, a classically trained viola and cello artist, has exactly that touch to make that fluid area between modern classical and ambient music work.
It is not just about creating moody soundscapes but make those soundscapes transform obvious instrumental capabilities into music that presents personal emotions in a way that listeners can not only pick up on them, but understand them in a way the artist, in this case Pine, wanted it in the first place.
A quick trip down the streaming rabbit hole to discover that Nathan Fake’s most popular track – by far – is the James Holden remix of “The Sky Was Pink”, which was a ground-shaking banger back in 2004 and remains so to this day. But it seems to have overshadowed Fake’s own output – the original version “The Sky Was Pink” is a distant #2, and after that, there seems to be a drop off. It’s as if people who were expecting more progressive house epics have found the warm and fuzzy electronica of the original version and impulsively decided it’s not for them. Which is a shame because that means the parent album – Drowning in a Sea of Love – remains a hidden gem rather than being heralded from the rooftops for its combination of woozy shoegaze, fizzing…
Athens, Georgia, guitarist Shane Parish isn’t one to shy away from a challenge (he transcribed the whole of Bill Orcutt’s Music for Four Guitars and plays as one of the Orcutt quartet), and his output is always something special, as 2024’s Repertoire, another album demanding some serious arrangement work, demonstrated. However, for his latest album, Autechre Guitar, he takes on the music of English electronic duo Autechre, an outfit known for its unconventional time signatures and experimental approach, which is a tricky task, to say the least.
Seemingly unwilling to disappoint his wife, who is a big fan of Autechre’s music, Shane set out to re-imagine and arrange ten of the band’s songs, all taken from their 1990s output.
…New Year’s Eve 1993, Live at Worcester Centrum captures what was then the biggest headlining concert of the band’s career, and the first in a long line of elaborate NYE shows to come.
Phish had played four New Year’s Eve shows before, but none like this. As the band wrapped the second of three sets with “You Enjoy Myself”, Trey Anastasio, Jon Fishman, Page McConnell, and Mike Gordon put on wetsuits during the vocal jam. This complemented the aquarium stage set the band used for its four-night New Year’s run through D.C., New Haven, Portland, and Worcester.
To start set three, underwater sound effects accompanied the band as the members “dived” into the aquarium setup and climbed into the giant clam, which snapped shut on them.
On his third Pyroclastic album, banjo and guitar terror Brandon Seabrook delivers a surprise in cohesion and musical expansion. the string slayer, usually revels and shapeshifts between free jazz, noise, prog, hard, and vanguard rock, and avant bluegrass. On Hellbent Daydream, however, a quartet offering produced by David Breskin, is an iconoclastic approach in which modernist chamber music, avant jazz and folk create a hybridized sound that contains all the aforementioned styles in an intense cinematic approach. Seabrook plays guitar and banjo, with bassist Henry Fraser, violinist Erica Dicker and pianist/keyboardist Elias Stemeseder. These seven compositions offer improv alongside uncharacteristic formalism.
Opener “Name Dropping is the Lowest Form…
Mojo Presents The Best of 2025 offers a carefully curated snapshot of a year that feels both restless and creatively rich. Compiled by the editors of MOJO, the CD brings together a diverse selection of tracks that reflect the magazine’s long-standing taste for depth, craft, and personality over hype.
Rather than chasing chart trends, the compilation highlights artists who shape the musical conversation in quieter but more lasting ways.
The tracklist moves fluidly between established names and emerging voices, blending indie, rock, folk, soul, and alternative textures into a cohesive listening experience. It plays less like a random playlist and more like a guided tour through the year’s most compelling sounds.
In an age dominated by algorithms…
Electro-noise duo the Yellow Swans formed in Portland, Oregon, in 2001, with the intention of combining punk’s confrontational stance with the aggressively electronic sound of glitch.
Like many other noise artists, Peter Swanson and Gabriel Mindel Saloman self-released several CD-Rs and cassettes of their music, as well as issuing EPs and 7″s on labels like Collective Jyrk and Chronditic Sound.
Despite frequent tours and gigs with artists including Tussle, 7 Year Rabbit Cycle, Xiu Xiu, and Japanther, the Yellow Swans recorded their debut album in 2003. Bring the Neon War Home was released by Narnack in summer 2004; the duo moved to Oakland, CA, just before the album’s release. The group’s second album…
A record that swaps love language for religious language every few bars should, in theory, settle on one or the other. Petal Rock Black never does, and its refusal to pick is what keeps it from curdling into wellness music or collapsing into a diary entry.
George Clinton starts the title track by reciting a strange devotional poem over silence, “storm-smeared picture,” “rust be the delirious scream,” “dreams a symphony we all soar on,” his voice old and enormous and arriving from no identifiable tradition, and by the time WILLOW enters, she brings a complaint that could have been left on a voicemail: “I don’t know why I have to Be just who you want me to.” Clinton is building a cathedral. She is trying to leave a room. The distance between those two impulses covers most of what this…
Black Sea Dahu crafts music that feels like standing in a storm – raw, exposed, and profoundly alive. Led by Janine Cathrein, whose voice carries sorrow and resilience in the same breath, the Swiss band blurs the lines between folk, pop, and rock, creating a sound that is both vulnerable and ferocious.
Their latest single, One Day Will Be All I Have, stands as a luminous reflection on grief and courage in the aftermath of personal loss. The song opens a space where sorrow and hope intertwine, framed by cinematic, emotionally charged arrangements.
The single sets the tone for the band’s new album, Everything – a record born from grief, speaking to death, self-reckoning, the act of…
The Enemy went straight to number one with their debut LP, We’ll Live and Die in These Towns, in 2007, and their follow-up, Music for the People, reached #2 in 2009. They also enjoyed a run of Top 40 hits during the same period. Supporting acts such as The Rolling Stones, Oasis, and Manic Street Preachers, they left a clear mark on the UK music scene. The trio from Coventry disbanded in 2016, briefly reuniting in 2022 for a run of shows. They now return with their fifth studio album – and first since 2015 – Social Disguises.
After such a lengthy absence, it’s fair to wonder whether The Enemy can still capture the spirit of their earlier releases. “The Boxer” hits with real punch and is easy to imagine as a future live-set staple. There’s a slight weariness…
