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Completely unpretentious, approachable and free of affectation – yet possessing the glamour of a diva in the very best sense: in the 20 years since her ACT debut, Meet Me Around Midnight, Swedish singer, pianist and songwriter Ida Sand has become one of European soul-jazz’s most loved artists, without ever making a fuss about herself and always keeping the focus firmly on the music. Whether entirely on her own with just voice and piano, or on the biggest stages alongside Nils Landgren or the SWR Big Band, it is Ida Sand’s warmth and authenticity that touch her audiences. And, of course, her smoky, sonorous voice, recognisable from the very first note.
These same qualities – her authenticity and soulfulness – are also what make the music…

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This is raw, unfiltered ceremonial gong ensemble music recorded on location by Laurent Jeanneau in Ratanakiri, Cambodia’s northeastern province, bordering Laos and Vietnam. Along with Mondolkiri to the south, it was once home to many of the country’s ethnic minority communities. During the colonial period, the French failed to establish full control over the region. After independence, the Khmer state also struggled to govern it, while Khmer Rouge rebels hid in its forests in the 1960s amid the wider conflict between communist Vietnam and the United States. The Khmer Rouge takeover in 1975 and the subsequent Vietnamese occupation, which lasted until 1991, could have devastated the traditions of northeastern Cambodia’s ethnic minorities.

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Four years have passed since we last heard from Nick Mitchell Maiato, at which time One Eleven Heavy, his sometime band with James Toth of Wooden Wand, had just released their third album, Poolside. Now, after some serious woodshedding, he returns with what is his sophomore album, Naquera, named after the Spanish pueblo in which he resides, that continues to mine the same musical seam, pulling country roots together with funky horns, jazzy guitar lines and deep grooves to create a modern take on the cosmic psychedelia so popular in the late ’60s and early ’70s.
Mitchell Maiato’s previous work has, unsurprisingly, drawn comparisons to the Grateful Dead, and one immediately recognises those influences. However, bands such as Royal Trux…

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The deluxe edition expands on the original February 2026 release with added bonus tracks like “Heartbeat,” “Hunter,” “Skýjaborg,” and “Infinity”.
On Julia, his fifth studio album, acclaimed Icelandic folktronica musician Ásgeir steps outside of his comfort zone and eschews his father’s voice. The poetry of Einar Georg Einarsson and Júlíus Aðalsteinn Róbertsson, a friend, had provided the lyrics — sometimes via translators — of Ásgeir’s previous compositions. Now, at 33, he’s standing on his own.
It’s evident from tracks such as “Quiet Life” that Ásgeir can be a capable lyricist. “Stare into the water/ See myself swimming in the sky/ Every part of me comes to light,” it begins. It’s a song that could be about a romantic partner or…

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Atlanta’s Ultra Lights are a nostalgia act, if only because they make scuzzy millennial garage rock in the year 2026, when not even the Strokes seem very much interested in sounding like the Strokes. This shit is classic rock now: Is This It is 25 years old, Brooklyn is no longer the hipster center of the universe, and those Converses you used to wear now need insoles. Atlanta may not be an obvious hub for upcoming indie rock acts, but on their debut, Pleasure’s All Yours, Ultra Lights are doing their damn best to make Atlanta sound like early-2000s New York City in a way that would make John Rocker’s head explode.
A quarter of a century later, the zeitgeist has so far been reluctant to revive that early aughts indie rock sound. Ultra Lights arrive with…

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Pop historian Jon Savage knows his way not only around compelling books, but also around coherent compilations of the most varied sonic contexts. Now he excavates, once again, the musical spirit of an era that produced legendary things: Savage illuminates San Francisco’s subculture of the late 1960s and early 1970s, beyond the clichés of flower power. The picture Savage draws sounds scruffier, grainier, above all more faceted and more branched than the polished historiography would suggest.
‘Alabama Bound’, originally a folk traditional, was interpreted around 1966 by The Charlatans – meaning the psychedelic rock band that also bore this name – in a rather dragging, almost trance-like manner. Even so, the song’s country…

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When these guys strip down to the basics, they don’t joke around. Ondanaconda is a quartet of Geneva-based musicians with connections that extend into nearly every conceivable genre, certainly into every corner of the city’s experimental scene. They include a clarinetist, a vocalist, a multi-instrumentalist, and a composer for electronics. Yet here, on the self-titled Ondanaconda album, they play four jaw harps.
Sure, yes, there is some electronic manipulation in the mix. But less than you’d expect. Most of the time, they twang away, letting the harps harmonize and the overtones sing. The band name seems to mean something like “wave-snake” (“wave” from the French onde), which pretty much sums it up. The sound waves are undisguised,…

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Summer is ending. We must not say this out loud; it is a hard pill to swallow. For many people, summer has already ended; vacations are over, classes have begun, the water has cooled. zakè‘s Tide Requiem for the Low Sea is a long, slow, poignant goodbye, holding on until the very last moment, like the last bit of a small island before it is submerged.
The physical representation is gorgeous: a double-sided picture disc, suitable for framing, showcasing photography by Tom Meluch (Benoît Pioulard). The images inspired both the music and their titles. One can imagine clinging to one of these peaks, like Blake Lively in “The Shallows,” albeit with more sadness than drama.
Each side contains a single track, logging in at 22:46. The title track occupies…

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Chicago-based tenor saxophonist Arman Sangalang concludes the physical edition of his sophomore album Waypoints with that most tried-and-true of classics, “Body & Soul,” and summons the ghosts of countless jazz icons in the process, his purr so silky one pictures Coleman Hawkins and Ben Webster nodding somewhere with approval. Yet while Sangalang knows the tradition, he’s no staunch traditionalist when he partners with guitarist Dave Miller, bassist Ethan Philion, and drummer Devin Drobka on the date. These in-demand collaborators do much to infuse the performances with the type of vitality that can make even the most exhaustively covered classic feel new.
Though he wrote the material for Waypoints, which follows his debut Quartet by three years,…

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It is more than fair to say — right from the start of their kinship in early 2023, in the Sylvie Courvoisier 4 with bassist Thomas Morgan and drummer Dan Weiss — that there was something innate, and perhaps more importantly, intimate, between road-clearing pianist Sylvie Courvoisier and rascally vibraphonist Patricia Brennan. Talamanti proves that big time.
Organically the sharply focused work of two fearless, free spirits, Talamanti, (the main language of indigenous, Aztec-era Mesoamericans) culminates or, dare one say, consummates, on such deliriously lasting moments (using words like tracks or songs seems to belittle the work at hand) as “In Your Pursuit,” “Trece Cielos,” “Hojas de Malabar,” and “The Time We Spent.”

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Filmmaker, author, musician and Indian classical music industry academic Robert Millis presents a sequel to his 2018 book/2CD compilation Indian Talking Machine with this incredible double LP haul of instrumental Hindustani, Carnatic and folk 78rpm records from the subcontinent featuring over 25 artists recorded between 1904 and 1959 playing a panoply of instruments: jalatarang, dilruba, sarod, clarionet, pakhawaj, violin, been, kazoo, shehnai, tabla, sarangi, vina and more. Indian Talking Machine Part Two features Imdad Khan (the first sitarist ever recorded), Ahmedjan Thirkhawa, Bundu Khan, Amir Hussain, Allauddin Khan (who taught Ravi Shankar), and others both forgotten and revered.
The Indian classical instrumental tradition is…

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Michael Barker spends a lot of his time playing guitar in garage punk bands in his Sydney hometown scene; he also records under the name 1-800-Mikey, which is a reference to his job in a call center. Under that name he makes lo-fi bedroom punk and garage that’s self-assured, confident, hooky as can be, and full of jangling, slicing guitars. IN YUN is the second album he’s released and it’s a sugar sweet confection that will appeal to fans of the Ty Segall and O Sees school of rock, the one where they teach that the sweatier and more immediate the sound the better. Barker certainly got top marks in class because the album is super punchy and full of the kind of hooks that sink in deep on first listen. Most of the songs are revved-up garage rockers…

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If it is a truth universally acknowledged that a singer-songwriter in possession of a large songbook must be in search of a band, then Oisean Burnett has gone about things in the right way. Following a move from his native Scotland to London in 2024, he papered the musicians’ hangs with posters seeking bandmates, and Starter Car is the happy result.
Their debut album, Afterlight, follows the release of four previous singles, with opening track ‘Throwing Down’ serving as the fifth.
A busy live band, Starter Car have built a following in relatively quick time, and videos of gigs at places like The Windmill in Brixton and The Shacklewell Arms show a core band of guitars, bass and drums. The album was recorded in…

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Dublin’s traditional music scene is very much alive and kicking. Amongst its contemporary flag-bearers are Patrick ‘Paahto’ Cummins and John Francis Flynn, aka Paahto & The Bull, two musicians who have become significant players on the scene. While they notably helped form the traditional Irish band Skipper’s Alley in 2013, the pair began playing together back in 2011 and during COVID began looking at music as a duo.
Patrick’s main instrument is the tenor banjo, but the project with John was focused partly on Patrick’s interest in bluegrass music and guitar flatpicking, so the pair decided on a guitar duet recording.
This angle immediately brings a transatlantic feel to the music, with the material present…

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The 1970s was a truly glorious decade of reggae. While the likes of Bob Marley, Burning Spear and Culture powerfully highlighted political and social inequalities, and the message of Rasta, other artists, both in Jamaica and the UK, drew inspiration from the joys and pains of romantic love. The widespread popularity of love-themed reggae during this golden period is highlighted on this essential 2CD collection which brings together 46 of the most popular romantic reggae recordings ever to have seen issue.
Included are an array of major reggae hits, their number including ‘Silly Games’, ‘Tears On My Pillow’, ‘Three Times a Lady’, and ‘The Closer I Get to You’, performed by such celebrated exponents of the lovers style as Janet Kay,…

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The name was an explicit signpost. Maryland’s Velocity Girl named themselves after the B-side of Primal Scream’s May 1986 second single “Crystal Crescent.” At this point, Bobby Gillespie and Co were still a Byrds-leaning, Sixties-inclined, polkadotted jangly pop outfit. There were no hints of what came later.
Velocity Girl formed in College Park, Maryland in 1989 but were embedded in the Washington, DC music scene – one which, for much of the outside world, was defined by hardcore punk and the various flavours springing from it represented by bands like Fugazi and Nation of Ulysses. Looking to any British indie archetype was atypical. As the liner notes for new compilation 1989-1992 put it, “Velocity Girl arose from a new…

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Henrik Olsson‘s Antumbra Ensemble is an eponymous, genre-blending effort composed, arranged, and led by the Swedish guitarist. The Copenhagen-based outfit contains members new and old. The rhythm section, double bassist Jeppe Skovbakke and drummer Rune Lohse, and tubist Kristian Tangvik, all return from Olsson’s Hand of Benediction I and II albums. They perform in tandem and contrast with a horn section that consists of alto saxophonist Michaela Turcerová, trumpeter Erik Kimestad Pedersen, and trombonist Petter Hängsel. They assist Olsson in creating a musical universe that reflects the influences and methodologies of Henry Cow, Henry Threadgill’s Very Very Circus, Sun Ra, Soft Machine, Marc Ribot, and Frank Zappa, employing…

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The line between poetry and music has always been a blurry one. Christopher Nolan recently claimed he cast musician and hip hop artist Travis Scott in his epic The Odyssey because the Homeric saga has been handed down through civilisations as “oral poetry, which is analogous to rap,” and therefore he was directly evolving the craft. Now, perhaps more convincingly and certainly less commercially, Tehran-based composer Siavash Amini and Brooklyn author Eugene Thacker take this statement one step further. Songs for Sad Poets, Vol. III sees the creative duo deliberately breaking down poetry into microfibres to thread back through ambient compositions, thus merging music and poetry at a more atomic level.
Songs for Sad Poets, Vol. III follows Amini and…

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