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Fans of blue-eyed soulman Eli ‘Paperboy’ Reed have enjoyed plenty of passionate, often searing music from the singer over the past 20 years.
But even though he released some terrific albums recently, they have been rearrangements of others’ songs.
A side road of an entire set of Merle Haggard tunes done in an R&B style, and another of classic soul covers — 2023s wonderful Hits and Misses — tided listeners over. But it has been seven years since Reed’s last batch of originals.
That musical drought ends with Getting There. Not only does the singer remain in typically stunning form vocally, but he pens eleven new gems, adding two obscure covers few will recognize.
Better yet, he joins with 84-year-old icon…

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For over 20 years now, Pokey LaFarge has been delivering his version of retro-Americana. That journey continues with Rent Money, a collection of eleven tracks preoccupied with the almighty dollar. LaFarge follows up the more expansive Rhumba Country with this slightly scaled-back effort. Once again working with producer Elliot Bergman (Wild Belle, LA LOM, Natalie Bergman), LaFarge’s sound incorporates light blues, jazz, easy reggae, folk, country, and rock and roll, all in a minimalist manner. While LaFarge’s music may look back to the mid-20th century, his lyrics address modern monetary worries and timeless love.
The album opens with a shuffling tune titled “The Thing,” displaying sweet backing vocals from Addie Hamilton, who pops up a few times…

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Musical Instrument Digital Interface (aka MIDI) has such a pervasive presence in the musical landscape that it’s easy to take it for granted. Yet, when it first appeared in the early 1980s, the standard felt miraculous. Back when technology was more meaningful, MIDI’s ability to bridge physical and digital domains meant that devices like synthesizers and keyboards were suddenly able to talk both to each other and to computer programs. The protocol has countless applications today, many of them purely software-based, but this particular facet remains its most fascinating, even serving as a core aesthetic principle for acts like Berlin’s Gamut Inc.
Since the early 2010s, Aggregate Festival founders Marion Wörle and Maciej Śledziecki…

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In its opening moments, Blasé Saint seems easy to pigeonhole. “Lifelover” begins with the muted thump of a kick drum, a migrating flock of reversed percussion hits, and a keyboard line that sounds like an Angelo Badalamenti DX7 patch poached from some nerdy producer subreddit. Its palette, swaddled in an ASMR-ready mixture of cassette hiss and field recordings, gives “regulation dub techno.” But before you can get too comfortable, the song pulls you into its undertow; five minutes later, it spits you out in a wholly new place. Atonal loops bloom and fold into themselves, while the drums and synth, repeating on an infinite cycle, get subsumed by gigantic bass frequencies. It’s intense and impressive, dumping a familiar bag of tricks onto the table and rearranging…

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Ezra Collective have a talent that’s rarely found in jazz music, the ability to sound and feel like far more than session musicians put in a room to play music. The London born quintet have had this cohesive, tight-knit energy since their debut EP Chapter 7 in 2016, and it’s easy to hear that their connection has a history that reaches long before that. The words accessible and jazz don’t really go together, but as a young, relatable, current troupe of musicians, Ezra Collective have taken Afro-jazz to the mainstream, and with Here Because of Hope, they’re finally telling it’s story.
Here Because of Hope is split into three sections, marked by poems read by Letitia Wright, taking us not only on a journey through genres, but a literal, geographical journey of jazz.

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…The second disc introduces 3 brand-new studio recordings from the band — their first newly minted studio material in over two decades — including a cover of Leonard Cohen’s “Bird on the Wire” and Melissa Etheridge’s “Stronger Than Me”. The bonus collection is rounded out by a selection of live performances dating from both their original 1970s touring era and recent 2025 concerts.
The reason that The Roaring Silence became Manfred Mann’s Earth Band’s best-selling album may have been because of both Bruce Springsteen-penned singles, but its instrumental makeup, by way of Mann’s keyboard manipulation coupled with Chris Thompson’s chiseled singing, had just as much of an affect. “Blinded By the Light” and “Spirit in the Night” gave the band hits…

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Iridescent jangle nirvana. Visceral punk energy. Mournful folk-accented vocalese. Stinging oaths of love and hate, with occasional chipmunk harmonies. The third Tubs album contains this and more, to the delight of all who enjoyed the first two Tubs albums for the abundance of said qualities. One of its 12 songs, however, breaks new ground. Opening with a groovily offbeat drum pattern, ‘Do Yourself a Favor’ bops onto the dancefloor amid frantic guitar downstrokes and an incessant keyboard riff deserving of its own hand-jive routine. This is actually a Prince song, albeit one with complex provenance and never released in his lifetime. The Tubs infuse it with their Celtic-tinged shimmer, while the lyric could almost be one of Tubs songwriter Owen Williams’…

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Twenty-five years is an awful long time in electronic music – but that’s how long Simon Green, aka Bonobo, has been applying his beat making craft. Working from the early days with Tru Thoughts, where he established himself as an original producer capable of incorporating different styles and cultures into his work, Green has extended the spirit of collaboration to instrumentalists and vocalists alike.
On his watch the careers of singers such as Andreya Triana have been enabled to flourish, with Green’s talent of writing for the singer as much as the song a key feature of his work. With his live following now at a feverish peak, where do we find Bonobo’s music a quarter of a century on?
The answer from Distance in Static is that his…

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Rattlin’ Bones marks Bronwyn Keith-Hynes’ first foray into songwriting. For those unfamiliar with her name, here’s a brief résumé of the story so far. Raised near Charlottesville, Virginia, at the foot of the Blue Ridge Mountains, Keith-Hynes was barely done with toddling when she started fiddling, cutting her teeth on Irish traditional music and getting into bluegrass as a teenager. After honing her skills at Berklee College of Music in Boston, Massachusetts, she was one of the founders of the progressive string band Mile Twelve, three of whose five members were alumni of that highly revered institution; they won the International Bluegrass Music Association (IBMA) New Artist of the Year Award in 2020. Next on the Keith-Hynes CV came her debut solo album,…

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Ten years ago, on Do Easy – an album made with her twin sister as Tasseomancy – Sari Lightman sang of wanting to “reinvent” herself, to “fade into folk songs”. Her solo debut isn’t a reinvention, not exactly, but it draws much more closely from that “old music”, blurring autobiography and fragments of real and imagined other lives into a set of hushed, intimate songs.
The Way I Saw You emerges from a time of transition for Lightman, amid new community and a quieter way of life with her partner and toddler on the edges of Los Angeles. In her native Toronto, she and sister Romy developed a cosmic, experimental folk sound across 20 years of shared projects: Ghost Bees, Tasseomancy, The Lightman Sisters. Their most recent release,…

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…La-La Land’s latest CD expansion of scores from the long-running film series based on Ian Fleming’s British agent 007 comes not from the ’60s or ’70s, but the last decade. LLL has remastered their first Bond score from the Daniel Craig era in 2015’s Spectre, available as a 2CD edition featuring a generously expanded edition of Thomas Newman’s score for the picture along with some album edits and alternate material. For Craig’s fourth time in the tux, the series continued the surprisingly serial direction it had taken since 2006’s reboot Casino Royale. After the loss of M (Judi Dench) in 2012’s Skyfall, Bond once again confronts dark aspects of his past when he discovers that previous adversaries had all been agents of a larger organization of villainy, run by…

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Mekong Shellac is an extremely rare collection of classical and popular styles of Khmer music from the 1930s to the 1950s. Restored from the few original remaining copies, this compilation reveals a remarkable world of early 20th-century Cambodian folk music previously lost in time through war, cultural shifts, and modernization. These recordings were selected for their distinctive musical qualities, the physical condition of the 78 rpm records from which they were sourced, and the circumstances of their survival.
The selections span a range of Khmer musical forms, including Chapey, Romvong, Lakon Basak, Pleng Khmer, Ayai, and Ayai Reung, as well as classical and court-derived traditions such as Pinpeat and Mahori, alongside popular…

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…10th anniversary deluxe remaster features the original 9 tracks (remastered) along with 5 previously unreleased bonus tracks.
Devil Is Fine serves as Manuel Gagneux’s debut release through this one-man project, as he smashes extreme music against African American spirituals alongside a lullaby-inducing electro triptych.
Black metal is perverted through Come On Down’s tremolo-picked fury and shrieking, but then it’s into gorgeous blues croons, classic metal riffing, and back to Satan squeezing Manuel’s knackersack. Whether the genres run in tandem or successively, the blend’s never jarring. Children’s Summon is basically In Flames at their melodeath best channelling Rotting Christ.

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Some Velvet Sidewalk was first active between 1987 and 1997 as a band in Olympia, Washington, that worked with K Records. Because of this, they were sometimes wrongly associated with the twee sounds of some of the K roster, when their albums were in fact louder, more unruly, and more experimental, while still being connected to the openhearted excitement and embrace of possibility that was emblematic of so many Olympia bands of that era. Critters Encore is the first new album from Some Velvet Sidewalk in 29 years, and it conveys the same energetic and oddly angled take on rock & roll as when the band last left off. Created by founding member Al Larsen on guitar and vocals, longstanding drummer Don Blair, and a rotating cast of different bass players,…

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There is something pointed about calling your record It Is Clear What’s Going On in 2026 and then responding with lyrics that show no interest in meeting the listener halfway. Debt Rag are not being glib. Or rather, they are, and that’s precisely the point.
Glasnost, the late Soviet-era principle of saying the thing plainly because the pretence had become untenable, is a useful way in. When the word entered circulation, the world felt as though it was shifting beneath everyone’s feet while nobody could quite explain why. Debt Rag’s own statement is so steeped in deliberate irreverence that absurdism starts to resemble the only rigorous critical position left. Brainrot doesn’t register as a symptom here so much as a methodology.

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CFCF‘s discography is a sort of nostalgia loop time-warp, delving into the sounds of the past from a present-day lens. During the 2010s, he frequently mined new age, soft rock, and smooth jazz for inspiration. With Liquid Colours, he revisited the moment when “electronica” was poised to take over the world, particularly drum’n’bass, and the ambitious Memoryland was a collision of all things ’90s and Y2K, from grungy alternative rock to French filter house.
With L.U.V., the now Los Angeles-based artist moves on to the type of electropop that regularly soundtracked hipster dance parties during the 2000s. For an artist who initially became buzzed-about for remixes of acts like Crystal Castles and HEALTH, the album comes close…

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Ka Baird is known for passionate, unpredictable vocal performances. Whether solo or in collaboration with others, Baird’s kinetics tend to be the focus. Their latest release, Thinking Music (For Just Intonation Rhodes Piano), sounds like quite the departure, and indeed it is.
No vocals here, no collaboration, no exploration of a physical space. (Though the piece was written for live performance.) It’s a 40-minute piece, in four movements, for solo Fender Rhodes. The twist is that the Rhodes is retuned in just intonation. This isn’t your Herbie Hancock-loving grandfather’s Rhodes.
A just-tuned Rhodes is a pile of contradictions, and Baird’s exploration of them is what makes this album compelling. Individual tones…

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Šimanský Vaľko Podracký pick up where Spacemen 3 left off. The Czech-Slovak trio of experimental musicians apparently share Pete Kember and Jason Pierce’s guiding principle of “taking drugs to make music to take drugs to”. The group’s psychedelia was inherited from the freewheeling 1960s, a decade when Western music – from rock to minimalism – was infused with the meditative transcendence of sustained tones. But the most important question is left unanswered: what drugs to take to make drone music to take drugs to? The album’s title may offer some cues.
Born of spontaneous free improvisation sessions, K-drone is the joint journey of three psychonauts: experimental guitarist Jakub Šimanský, hurdy-gurdy player Michal Vaľko and…

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