Twilark’s Canon Pence sees the beauty in everything falling apart. In a wavery tenor balanced precariously between country confessionals and indie rock self-examination, he mourns the changes in life, in relationships, in bucolic plots of land swallowed by development. And yet, he also finds solace, even revelation in the cycle. The best song on the disc, “Prettiest Way to Die” tracks the slow, visually striking death of a tree strangled by wisteria. It’s a disaster for the tree, clearly, but also an indelible image of weathered bark wreathed in murderous purple flowers.
This is Pence’s second album as Twilark, following 2025’s The Taming Ties Create, a sparer, more inward-looking collection of songs, which nonetheless foreshadowed…
Latest Entries »
Crescent City jump blues pianist Mitch Woods does it all by himself on his latest release, A Night in New Orleans, recorded live at the Snug Harbor club during the 2026 New Orleans Jazz & Heritage Festival. He sings, tells stories, and, most importantly, plays boogie-woogie piano to entertain the crowd.
You can hear their enthusiastic response as he hits the keys, but they never throw him off his stride. Indeed, the opposite is true. They inspire him to play faster and harder. As he notes during his rendition of Louis Jordan’s “Choo Choo Ch’boogie”, he doesn’t have a drummer. His audience must supply the rhythm for his energetic melodies.
Singing and playing solo allows Woods the flexibility to cover a wide swath of the Big…
The configuration of bass, drums, and piano is an all-too common one in the world of jazz music, but when those instruments are somewhat turned on their heads, the results can be unique and often stunning. That’s certainly the case with Enneads. Their self-titled debut features Zach Layton on an unusual 17-string electric bass and pianist Phyllis Chen using nodal points inside the lid of an amplified piano, run through a distortion pedal. Hamir Atwal’s drumming setup is fairly standard, but the way he works subtly around his bandmates creates an ambience that adds to the otherworldliness of this startling, moody record.
Released on the forward-thinking Birdwatcher label (responsible for experimental releases by artists like GADADU, Jessica Pavone, and…
Hearing Gretchen Parlato’s spellbinding version of the Herbie Hancock song ‘Butterfly’ was unforgettable when the eloquent LA-born singer’s star glimmered into view in the 2000s.
The unique qualities she revealed soon brought her worldwide acclaim. ‘Butterfly’ would open in an onstage silence only broken by Parlato’s soft handclap on a Brazilian groove, eventually turned into a wordless vocal hook, and then the awestruck natural-world homage of the lyrics written by Hancock’s sister Jean. She would time phrases between deliberately emphatic in-breaths like cymbal hits, and arrestingly morph words in and out of abstract sound.
The Wise Ones arrives as her third album since 2021, when she returned from six years…
…The digital deluxe version features 3 exclusive bonus demo tracks that are not available on the physical standard vinyl or CD pressings.
Where in the past Bloc Party have dealt in emotional ambiguity, on this seventh effort all metaphors are discarded. Described by Kele Okereke as the most personal work of his career, Anatomy of a Brief Romance is a chronological account of a relationship from first glance to final goodbye, operating as a memoir over 14 songs.
Given the autobiographical content, it’s a surprise that Okereke chose to release this under the Bloc Party name rather than as a solo record. Yet the presence of guitarist Russell Lissack, drummer Louise Bartle and new bassist Harry Deacon — making his recording debut with…
…expanded digital edition featuring 11 additional b-sides and live recordings.
Listening to a new Solex album is a bit like being suddenly and completely immersed in a foreign language. At first it sounds alien, unpredictable, and impossible to decipher, but as time goes by, its rhythms become natural, and charming idioms and turns of phrase slowly reveal themselves. Elisabeth Esselink’s third Solex album, Low Kick and Hard Bop, could be considered a primer in advanced Solex — it’s an evocative and wildly creative, but not immediately accessible collection. Listeners not already fluent in Solex Vs. the Hitmeister and Pick Up may be bewildered by the strange, ever-changing melodies and arrangements, which Esselink crafts from samples of…
Within Haruomi Hosono’s decades-spanning career, 2006’s “Walking Vibration” isn’t particularly notable. The celebrated Japanese musician made this flute-accented instrumental for a TV show aired that same year about people seeking clarity in life via a famous pilgrimage around the country’s Shikoku region. It’s a minor entry in a sprawling songbook that changed the course of his home country’s music scene and influenced creators around the world, preserved only on a 2008 “archive” collection.
Yet on his treasure box of an album Yours Sincerely, the 79-year-old Hosono revisits what was once just background music for a four-episode drama. He keeps the traditional percussive touches of the original intact but adds…
“We shall ask you to forget our former pranks and playfulness. We ask you, in the name of dignity and art, to put yourselves in a receptive frame of mind.” That sampled dialogue appears at the midpoint of Zeds Dead’s recently released third album, Return to the Return (of the Spectrum of Intergalactic Happiness), but it stands out as its core message. For 15 years, the Toronto-bred electronic music duo has been branded a bass act, known for lush production and explosive headbanger drops, but it’s never been truly fair to categorize Zeds Dead by any one genre.
Marking 10 years of its record label Deadbeats, Return to the Return (of the Spectrum of Intergalactic Happiness) feels as much a reflection point as a reinstatement of…
Within the somewhat unusual confluence of synthesizers and a small orchestral ensemble, Canadian artist Flore Laurentienne produces music rooted in the landscape of his country and inspired by the vastness of the St. Lawrence River. The music is bright, simple, and powerful. Led by Minimoog player Mathieu David Gagnon, Flore Laurentienne are comprised of a string quartet, two keyboardists and a percussionist and their new album, Volume III, highlights the concept of beauty in chaos, and like the press materials suggest, the message is one of light: “It is the seed in the ground that becomes a plant and then a flower, blooming at its peak and then inevitably wilting so that the cycle can begin again.”
Following in the footsteps, needless to say,…
Thirty-plus years later, the last two albums by the original Pixies lineup, Bossanova and Trompe le Monde, occupy a strange place in the band’s canon, more highly regarded than their later releases but rarely seen as the equal of their earlier work. These new remasters are available on CD and in a limited-edition vinyl with a bonus 7” of previously unreleased songs and offer an ideal opportunity to reevaluate the albums on their own merits; short version, they stand up pretty well.
Back in 1990, it seemed like the Pixies were on the verge of a commercial breakthrough, but that never really happened. Instead, Bossanova offered a softer, glossier and more conventional take on the Pixies sound at just the point when bass player Kim Deal’s other band the Breeders had…
…Sourced from the original analog tapes and mastered by engineer Rob LoVerde.
It would be tempting to scour No. 4, Scott Weiland’s reunion with Stone Temple Pilots, for insights into his troubles, yet the group consciously avoids this throughout the album. That’s for the best, since it’s their hardest effort since their debut, Core. “Down” and “Heaven & Hot Rods” provide a powerful, brutal opening for No. 4 — it’s as if STP decided to compete directly with the new generation of alt-metal bands who prize aggression over hooks or riffs. With these two songs, the band’s attack is as vicious as that of the new generation, but they retain their gift for gargantuan hooks. Much of the album hits pretty hard — most explicitly on “No Way Out,”…
The boldly colored cover of Fantastic Thoughts features a sinewy band of horses heroically galloping out of the clouds above and into the foreground. Believe it or not, even that image might still be a little understated for the mood of the music.
Multi-instrumentalist Nate Mercereau is a prolific MVP of the L.A. post-jazz scene, frequently found in the company of similarly ubiquitous, outside-the-box musical thinkers like Carlos Niño and Josh Johnson on projects including 2025’s transcendent Openness Trio album and Andre 3000’s head-turning ambient-jazz solo debut. But while Mercereau’s solo sojourn shares a sense of spiritual uplift with those projects, it couldn’t be further from their quietly contemplative tone.
Strut presents Nigeria 80, the next essential chapter in the legendary Nigeria 70 series, diving deep into the explosive sound world of 1980s Nigeria. Following the global impact of 2001’s Nigeria 70, which helped introduce rare Nigerian recordings to international audiences, Nigeria 80 continues the journey, unearthing a rich, restless, and wildly creative decade of music from Lagos to Enugu. Despite economic instability and restrictive political conditions in the ’80s, Nigeria’s music industry flourished, driven by a growing network of independent labels such as Tabansi and Phonodisk, which championed local artists and expanded creative freedom. The ’80s also marked a significant rise in visibility for female artists, with trailblazers like Onyeka Onwenu…
01. Joy Division – Transmission (Live The Factory Manchester 13th July 1979)
02. Buzzcocks – Hollow Inside
03. Blue Orchids – Dumb Magician
04. The Sound – Winning
05. Robyn Hitchcock – The Lizard
06. Echo & The Bunnymen – The Cutter
07. A Certain Ratio – Forced Laugh
08. Red Guitars – Good Technology
09. Josef K – Endless Soul
10. This Heat – Cenotaph
11. Scritti Politti – The ‘Sweetest Girl’
12. The Fall – Iceland
13. Crispy Ambulance – Bardo Plane
14. The Cleaners from Venus – Factory Boy
15. New Order – Ceremony
The Body‘s 2013 EP Master, We Perish arrived in between All the Waters of the Earth Turned to Blood and Christs, Redeemers, the two full-lengths in which they evolved from their doom/sludge metal beginnings and began making additional elements like choirs, samples, and electronics an integral part of their sound. Beginning with a blaring air raid siren, guitars so distorted they’ve been burnt to a crisp, and pummeling drums, opening track “The Ebb and Flow of Tides in a Sea of Ash” establishes a state of emergency, as Chip King caterwauls about structures collapsing and life falling into the void. “The Blessed Lay Down and Writhe in Agony” introduces haunting choral vocals and a tinny, barely audible voice of someone who’s trapped and can’t escape no…
A record inspired by the desolate brutalism of their native Manchester, art pop/new wave trio, Yossari Baby’s new album, New Brutality is a radical statement of seriousness. This is an album that dissects Manchester’s anatomy in a very different way to the city’s musical back catalogue with murmurings of the anti-Manchesterism that they, and local label Alphaville, stand for. This Anti-Manchesterism isn’t a concept of scorn; Not in a degrading sense, but as a rally against the reckless nature of the soulless sprawl of buildings ruining the character of the city. Opening track ‘Super Cool’ is more akin to a radical composition than your ordinary futurist pop. This track has nods to DEVO and ‘Technique’ era New Order with hints of European house music and Warmduscher…
Heptaméron is an unusually assured debut, one that embraces the vocabulary of progressive rock while refusing to remain within its boundaries. Built around a fantasy narrative structured by the symbolic recurrence of the number seven, the album unfolds like a journey across an imagined landscape of dungeons, mansions, abysses and forgotten kingdoms, each track functioning as a distinct location within a larger world. Rather than simply borrowing fantasy imagery, Acid Brain use it to organise the album’s musical architecture, allowing motifs and textures to recur, mutate and reappear as the story progresses.
The opening “…noise (Heptaméron)” eases the listener into this universe with an unexpectedly gentle flute melody recalling classic…
Adrian Younge always has several projects on deck. In 2026 alone he produced and played on three releases from his and Ali Shaheed Muhammad’s Jazz Is Dead label, with one more coming. Further, his Linear Labs studio and label have issued three 2026 outings: the completely solo outing Younge, the EP Afro-Disco Makossa, and the forthcoming Proud of Me in collaboration with British singer/songwriter ALA.NI.
That’s a lot of work for one man, but Younge’s organic process makes it all possible. What’s more, he makes it look easy.
Afro-Disco Makossa was born from a single question: “What would a Ghanaian producer in ’76 have made if he set out to create an American disco record for his hometown?”…
