On their debut album together, post-punk trio the Messthetics and saxophonist James Brandon Lewis arrived at the same point by following two different paths. Lewis, a player grounded in gospel and post-bop, grew increasingly adventurous in the years after delivering Divine Travels to Sony’s revived OKeh imprint in 2014.
He became a crucial part of New York’s jazz and new-music community, where he met Anthony Pirog, an improvising guitarist who had teamed up with drummer Brendan Canty and bassist Joe Lally in their post-Fugazi project, the Messthetics. Pirog extended an invitation to Lewis to join the trio onstage in 2019, setting in motion a series of events that led the group to sign to storied jazz label Impulse! Records for its 2024 LP.
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Peaches is primarily known as a purveyor of transgressive, sex positive anthems that have no room for shame whatsoever. This is just as it should be, although her music might not be for the easily offended, and her seventh album is not only one of her best, but possibly her most audacious too.
No Lube So Rude is packed with hardcore punk attitude, biting sarcasm, raw electroclash grooves and is blatantly sexually explicit throughout. Seemingly, as she stares down the barrel of her sixties, Merrill Nisker feels no need to veer towards the middle of the road, declaring herself “a horny little fucker and I’ll bring you to your knees” on “Fuck Your Face” and “a woman in control of all her holes” on “Panna Cotta Delight”…
…Legacy Recordings, the catalog division of Sony Music Entertainment, and RCA Records release the Original Motion Picture Soundtrack to Baz Luhrmann’s EPiC: Elvis Presley in Concert, a collection of 27 recordings heard in the upcoming film, featuring updated mixes of iconic live performances alongside new remixes and medleys of classic Elvis recordings.
…A follow-up to director Baz Luhrmann’s 2022 biopic of the singer starring Austin Butler in a star-making, Golden Globe-winning turn as the late singer, EPiC is sourced from scores of long-vaulted material utilized for film research. Warner Bros. Pictures unearthed unseen footage and outtakes from Elvis’ concert documentaries That’s the Way It Is (1970) and Elvis on Tour (1972)…
Staffed by Turkish, Indonesian and Dutch members, Altın Gün have always favored tunings and tonalities exotic to Anglo-American ears. Utilizing a saz (a long-necked lute played in Eastern Europe, the Levant and Asia) as lead instrument adds distinctive flavor to their respectful yet non-rote modernizations of Turkish folk classics and to their own serpentine compositions. It would be easy for Altın Gün’s recordings to come off as arid museum pieces, but through sheer virtuosity and zeal for the source material, they instead create vibrant renovations of these chestnuts.
Garip focuses on reimagining the work of Turkish troubadour/bağlama player Neşet Ertaş (1938-2012). Here, Altın Gün put supple muscle on the bones of Ertaş’ stripped-down songs,…
One can almost imagine the hypothetical 2025 tour reviews: “To hear him in person, you would never imagine Milton Keanes must be pushing age 80. He zips across the keys with abandon like a man half that age, matched by his equally spry bandmates keeping up with every gallop. The trio continually whips up a storm, defying any age and fit for any time.”
Or so it would be fun to picture, if you enjoy playing along with the fictitious Jazz Sabbath background story. The “official” legend posits that the iconic early Black Sabbath catalogue was originally stolen from a short-lived 1960s underground jazz trio, which belatedly reemerged in the 2010s to present the music the way it was always meant to sound. It remains…
In order to escape the world’s pressures, Moby often finds refuge in ambient and neo-classical music, and Future Quiet is one of several ventures into such territory. It isn’t the type of extended meditation session he reserves for his lengthy ambient releases, instead coming a bit closer to his orchestral releases on Deutsche Grammophon.
The album begins by revisiting “When It’s Cold I’d Like to Die,” the elegiac closing number to Everything Is Wrong that gained a new audience after it soundtracked particularly emotional moments during three seasons of Stranger Things. Jacob Lusk of Gabriels stays faithful to the Mimi Goese-sung original, if anything making the song sound more intimate and sacred. Two songs from the previous Moby album,…
Compiling music from throughout continental Europe during the height of psychedelia and progressive rock, So High I’ve Been: A European Rock Anthology 1967-1973 touches on several different styles and movements, from Dutch Nederbeat to Krautrock. This ranges from more blues-based rock & roll and beat music to groups exploring the outer limits, either through cosmic jamming or more ambitious and conceptual means, like French Zeuhl legends Magma, who sing in a self-invented language. Selections by a few groups like the Rattles and Necronomicon are occupied with occult themes, but the music is closer to the dark side of prog, and not heavy enough to be deemed metal. Other material runs the gamut from druggy freak-outs to more…
Getting so obsessed with a band that you book a local show just to see them play — we need more freaks like that in the world, and that’s what Merge Records’ Mike Krol did this spring when he put together a bill featuring himself, Shannon Shaw’s new group Voilà!, and this not-so-known New Orleans duo Twisted Teens, Krol’s recent fixation, here in Los Angeles. “I blasted it in the car at night with the windows down, tracked down records, mailordered merch like I was 16, and all of a sudden I felt excited about THE CREATION OF MUSIC again,” he wrote on Instagram. “I couldn’t believe a band I didn’t even know existed at the beginning of this year made — quite possibly — my favorite record of the past 2 decades.” Amen, Mike. This shit tears.
It’s nearly nine years since U2 released a collection of original material, 2017’s Songs of Experience. They’ve hardly been idle since: two tours, two films, a 40-date residency at the Las Vegas Sphere, nearly three hours of stripped-down re-recordings of old material on Songs of Surrender, plus Bono’s autobiography, which spawned a solo tour, a stint on Broadway and another film. An impressive workload by any standards.
Still, you could take the gap between original albums – the longest in U2’s history – as evidence of a problem that’s bedevilled the band for nearly 20 years: where do U2 fit into the current musical landscape?
The obvious answer is to acquiesce to the “heritage rock” label, rest on the laurels of their…
…digital release with 7 bonus songs.
Congolese guitarist, composer and singer Dr. Nicolas Kasanda wa Mikalayi, aka Docteur Nico, reigned supreme during the ’60s and ’70s as a key innovator of African rumba.
This three-LP package includes 30 of his songs, from the African Fiesta Sukisa catalogue, featuring hits, never-before-reissued recordings and bonus tracks available digitally via Bandcamp, alongside a 28-page booklet containing expert commentary and previously unpublished photos from the Kasanda family archive.
The music testifies to Dr. Nico’s technical virtuosity and adventurous creative control of the African Fiesta band. A heavy Cuban sway drives songs like ‘A la Savana’, ‘Alto Songo’,…
Violin is a site of adventure for Darragh Morgan. The Irish violinist performs compositions that unite the instrument’s sweet acoustic timbre with electronics, enhancing and warping its sound. His 2017 record, For Violin and Electronics, first presented this interest through six icy meditations. On For Violin and Electronics II, he follows that experiment with nine more pieces that showcase the versatility of this instrumentation through the eyes of nine different composers.
Uniting strings and electronics isn’t a new concept, but it’s one that continues to offer plenty of leeway for expanding the possible textures and timbres of age-old instruments like the violin. Groundbreaking works like Steve Reich’s Violin Phase, for example, brought the potential of…
Six years after his Grammy-nominated LP5, Sascha Ring – aka Apparat – takes a bold dive into the complexities of life with his sixth studio album.
A Hum of Maybe is detailed, finely crafted, and wonderfully unpredictable. At its core, the record is about love – for himself, his wife, and his daughter – and holding onto it, protecting it, and constantly recalibrating as it is in a constant state of flux. As the title suggests, the songs explore being stuck in between: not a clear yes or no, but A Hum Of Maybe.
Ring elegantly combines the perspectives of an electronic producer and a classical composer, working closely with long-time collaborators Philipp Johann Thimm (cello, piano, guitar) – who also co-wrote and co-produced the record…
…MOJO presents a bespoke CD of rare, live and previously unreleased songs from the mod icons, including storming live versions of ‘Whatcha Gonna Do About It’ and ‘Tin Soldier’, alternative takes, never-before-released tracks.
October 1965. ‘Whatcha Gonna Do About It’, the debut Small Faces single, is making its way up the UK charts. The four original members, only together for a few months, are learning how to be a band, and how to talk to the music press.
“We admire The Who,” bassist Ronnie Lane tells the NME’s Norrie Drummond, “but we have never tried to copy them in any way. We are Mods and appeal to mods, but that’s about all we have in common with them.”
Then Lane’s bandmate, drummer Kenney Jones…
Labeling any music as spiritual can play as a (fiery) double-edged sword for any artist involved, and if that is your debut full-length album, like is the case with Brooklyn’s multi-media artist AnAkA, and her album Crisis of the Concrete, those edges just might get a bit sharper, and those edges might spew just a bit more fire either way.
Of course, that spiritual element that the artist might be trying to evoke could have more or less openly religious content (less in AnAkA case here), and it can involve a number of musical elements and/or genres, and AnAkA certainly goes that multi-genre route here. Very often, the best music with that spiritual element was done with quite a few jazz elements, and AnAkA certainly doesn’t shy away from bringing them in,…
Editions Mego welcomes KMRU back to the fold. Kin is Nairobi born, Berlin based, sonic wizard Joseph Kamaru’s second release on Editions Mego, following on from the classic 2020 release Peel.
…Kin could be construed as the second child following Peel. The project came out of initial discussions with Peter Rehberg about what a Peel sequel would sound like. Kamaru is quick to clarify that Kin is not that record; “I’ll know when that record will come and when I’ll make it. It’s already happening… or maybe it lives within both of these Mego records”.
Kin was started early 2021 in Nairobi with Kamaru exploring his noisier palette of sounds encompassing distortions reminiscent of the sounds he would muster from in his…
Maara is a silly goose who knows how to switch it up. On her 2023 debut, the Montreal producer wiggled through new age, trip-hop, and ambient meditations delivered in an ASMR whisper. That record’s freakier end played with mystical progressive house reminiscent of Roza Terenzi and D. Tiffany’s work for their Planet Euphorique label — full of squelchy, minor-key melodies, lightly tapped bongos, and galloping basslines. Beyond her albums proper, she’s released a small collection of sapphic bangers with an artist named My Hot Ex, as well as last summer’s single “I Wanna Scissor,” which you can tell was recorded in between inebriated giggles. The tone of Maara’s discography is definitively crunchy, but it’s also more than a little naughty, carrying…
Golden Toad is the solo project of Al Brown, former co-creator of indie-psychers Japanese Television. He’s also made music videos for the likes of UNKLE, Lambrini Girls, Idles, and Deap Vally.
His solo debut Unite the Worms happens to be released twenty years after the extinction declaration of the Costa Rican Golden Toad, the last confirmed sighting of which occurred all the way back in 1989. This Golden Toad, however, decided to hole himself up in a garage in the Garden of England last summer and set about concocting a psychedelic passage through shifting time, riding kosmische grooves and electronic festoonery along the way.
You can picture Al Brown, hunched over his guitar, lost in the hammer ons of eighth…
Kaikō is the second album by Treen, a young band of younger improvisers who come from different places in Europe. Despite their youth and spontaneous methods, they have a very particular sound, one that is aware of the music’s history but not burdened by it. You could say that the trio comes from Copenhagen, since that’s where they first convened in 2023, but only one of them lives there. That would be Gintė Preisaitė, a Lithuanian musician who plays electronics in some contexts, but sticks to piano in Treen. Tenor saxophonist Amalie Dahl is Danish, but she lives in Norway. Although she’s currently based in Oslo, she studied in Trondheim and most of her other ensembles include players with Trondheim roots. And drummer Jan Philipp is from…
