On his fourth release on Orindal Records, Matt Bachmann’s Compost Karaoke is a representation of “songs of change”, as he explains. It’s a transition from his previous years touring as the bass player for Mega Bog.
“At the heart of this transition was a personal struggle between the ‘clouds’ (art) and the ‘earth’ (the systemic problems of New York/US/world),” he says. “Doing this more earthly work and having less time for the clouds changed my relationship to music. I had been so inside the music world that I had become blind to its generosity – the way it brings us together and allows us to collectively feel, dream, and escape.”
Adding that this new project was an opportunity to work alongside old friends, Bachmann…
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Many musicians are content to write and perform songs, while others continuously explore deeper territory. Clarinetist, saxophonist, and composer Hillai Govreen belongs firmly to the latter camp. At heart, she is a storyteller, and with Every Other Now, her debut solo release, she creates music that invites not only listening but also imagination.
Govreen first drew notice with Allusions (2021), a duo with pianist Nitsan Kolko, where her sensitivity and command of dialogue came to the fore. With Every Other Now she expands her vision, joining forces with bassist Ben Meigners, guitarist Steve Cardenas, pianists Noah Stoneman and Eden Ladin, drummers Eric McPherson and William West along with percussionist Cafe Da Silva. The setting provides a rich field where…
Guardian Alien, the ecstatic experimentalists that singer-songwriter Alexandra Drewchin has run with over the last few years, have been described as “psychedelic.” But despite that tag — and despite the fact that they had a Rastafarian extraterrestrial on one of their record sleeves — the rapturous emotional peaks and torturous noisemaking that Drewchin contributed to the group always rendered their explorations more ritualistic and earthy than that label suggests. Their interest in psychedelic experience is more ideological than aesthetic, an idea that carries through on Drewchin’s first full-length release as Eartheater, Metalepsis.
Drewchin displays an all-consuming interest in blurring boundaries that burrows all the way down to the record’s textural details.
The typical Macy Rodman LP is a sprawling codex of meta-references, in-jokes, and cultural critique couched in accessible synth-pop. Though there’s a common thread of danceable retro pastiche running through her discography (revealing a particular fondness for Haçienda-era New Order and the Day-Glo kitsch of late-aughts club music), albums like 2019’s Endless Kindness and 2021’s Unbelievable Animals were clearly composed with close listening in mind. Beneath the cybernetic sheen, there’s goofball parody, meticulously detailed confessional writing, and an enthusiasm for genre-agnostic experimentation. On her latest full-length outing, SCALD, her fascination with filmic femme fatales adopts a harder-edged sound that pushes her songcraft into weirder — yet no…
The title of Charlie Kaplan’s latest album stems from an episode involving his father, who was being visited in the hospital by a longtime friend. When his friend laid his baseball cap on Charlie‘s father’s bed, the usually polite–but–superstitious elder Kaplan was abruptly shocked.
“In old cowboy movies,” he said, in a story recounted by Charlie himself in the press notes, “a hat on the bed is an omen, a premonition that someone will die”.
Indeed, A Hat Upon the Bed is a tribute to Kaplan’s father, who passed away in 2013, as well as to his son, born in 2025. This “fatherless decade” between those two events was a source of love and pain, which Kaplan has used as inspiration for this, perhaps his most personal and…
The 2022 debut from Kansas City duo Katy Guillen & The Drive (led by music and life partners singer/guitarist Katy Guillen and drummer Stephanie Williams), Another One Gained, offered a solid indie rock record that leaned into a variety of influences from roots to garage rock.
But on their follow-up, Make That Sound, the pair wanted to bring more female energy and ideas to the studio and ultimately the record, so they reached out to producer Megan McCormick (Allison Russell, Amythyst Kiah). The result is a collection of tracks that is more focused than their debut while being much more musically adventurous.
The album opener, “Outcome,” is a solid indie rock number that would fit nicely alongside the other tracks off their debut, but what follows…
Katie Schecter’s third studio album, Empress, offers another modern take on the retro sounds that have inspired her. The Nashville (via New York) singer-songwriter recorded the album live while pregnant with her daughter.
The themes of motherhood, femininity, and the desire to impart wisdom and creativity to her child run throughout the album. Empress feels like a peek into Schecter’s growing family life, aptly produced by her husband, Cage the Elephant guitarist Nick Bockrath.
Sonically, Empress fuses retro soul and pop with atmospheric dream pop and dashes of country. Session musicians Nick Movshon and Homer Steinweiss provide the bass and drum rhythms, which serve as a canvas for Schecter’s…
Mandolinist Ethan Setiawan’s latest album, Encyclopedia Mandolinnica, showcases the Indiana-born, Berklee School of Music graduate’s virtuosic skills in a series of duos and trios with colleagues, mentors and masters.
The 11-track recording kicks off with Setiawan trading riffs with mighty mandolinist Mike Marshall on a swinging fandango titled ‘Victoria’.
‘Blazing Star’ pairs Setiawan with Jacob Jolliff (Joy Kills Sorrow, Yonder Mountain String Band) in a showcase for the astonishingly deft, quick-fingered facility of today’s mandolin maestros.
On ‘Brothers and Sisters’, renowned classical mandolinist Caterina Lichtenberg (who also happens to be Marshall’s wife) joins Setiawan on a brilliantly composed and meticulously…
As the Neighbors Tried to Sleep begins with a real swagger. ‘Pistol and a List of Demands’ opens with great energy: piano and guitar with a pulsing beat lead the way in a romanticised tale of a renegade on the run. Dillon Warnek casts himself as a man living large, ready for a big payday or a bloody end. “There’s enough dynamite in my pockets/To blow you all through the roof” sings Warnek with a confident drawl which, apart from the obvious Freudian interpretation, sets the scene of a man willing to take on the law. There’s real defiance in the song too, “The judges want to lock me up/And throw away the key/It drives them crazy knowing I’m freer/Than they’ll ever be”. But there’s a desperation behind the bravado, “It’d probably look like the goddamn Alamo…
…Bones of Trees is Tim Grimm’s 13th album, and it is a beautifully crafted collection of personal, historical and political songs.
The album’s title is taken from the mysterious imagery, the song setting out the album’s underlying themes of wood and how the past influences the present. ‘Getting Older’ relates the lives of three men and the way we spend our limited time on earth. The Celtic-fused ‘Mists of Enninstymon’ touches on past emigration, Grimm joined by Glasgow’s Paul McKenna on vocals and the pipes of Dougie Pincock. ‘Hunting Shack’ is built on a great Johnny Cash rhythm, and Sergio Webb’s dobro helps him cover Susan Werner’s ‘Barbed Wire Boys’. Both tracks reflect on a distant rural Midwest. There’s a good-natured,…
The Doldrums is the debut solo release from Canadian singer-songwriter Ellen Braun. She is based in Canmore, Alberta and is also a member of indie folk duo Trundled with Joe Shea.
Braun recorded the 10-song collection mostly live at Montreal’s Hotel2Tango with producer Howard Bilerman. The album features a full-band performance with Stef Schneider (percussion), Sage Reynolds (upright bass), Mike O’Brien (guitars), and Sarah Hiltz (vocals and keys) and the “Nashville” choir, comprising Hiltz, Stephanie Gagnon, Laura Newman, Babette Hayward, William Kuklis, and Joseph Shea.
Of the album’s title, Braun explains: “Someone once told me, ‘It’s not too late to change the name of your album’. Well, it is now, and…
Soul Jazz Records’ new Soul Jamaica brings together a wicked selection of reggae funk and soul tracks from the legendary Studio One stable, featuring a stellar line-up of artists including Jackie Mittoo, The Heptones, The Gladiators, Sim Smith, Peter Tosh and The Wailers, Cedric ‘Im’ Brooks and many more. For a short period of time at the end of the 1960s and early 1970s, nestled between the end of rocksteady and the arrival of roots reggae, Studio One released a small stream of superb soul and funk reggae tunes – covering everyone from Sly and The Family Stone, Diana Ross and The Supremes, Nina Simone, Gene Chandler, Tyrone Davis and more.
Most of the tracks featured on Soul Jamaica were only ever released on Studio One’s…
Cryo Chamber’s seventh entry in its ongoing Tomb series opens strongly with a pairing of Apocryphos & Pœna Sensus. Their track, ‘The Sigh of Archaic Tragedy’, is weighty and oppressive, built from deep drones, bass-heavy descending chords, and unstructured percussion that evokes places of burial and stillness.
The rest of the album explores similar themes in different ways. The variety on this compilation is remarkable considering that each piece adheres to a common aesthetic framework.
Dødsmaskin’s Messiaskomplekset’ is borderline post-industrial with rattling textures accompanied by haunting melodies and tones. Fractalyst’s ‘Those Who Slither’ is cinematic and varied, with abrupt changes in volume and palette.
Whereas Rudersdal Chamber Players focused on chamber music by Poul Ruders on its 2022 debut recording, the quintet’s latest concentrates on works by Elena Firsova (b. 1950) and Dmitri Smirnov (1948-2020). Their story is as fascinating as their music, so much so that no appreciation of the latter is complete without some familiarity with their histories as marriage partners and creative artists. But first a few words about the Nordic ensemble Rudersdal Chamber Players (RCP), whose 2017 founding by violinist Christine Pryn came, interestingly enough, at the behest of Lera Auerbach. While visiting the festival Rudersdal Sommerkoncerter, the Russian-American composer suggested that an ensemble of high-profile chamber musicians could…
As two of the three works on Pacific Triptych illustrate, Peter Scott Lewis, like many an American artist has before him, finds creative inspiration in the landscapes of the great country he calls home. The three-part title composition is the San Francisco-based classical composer’s attempt to render the grandeur of the ocean and the limitless sky above it into musical form, whereas the four-movement first book of An American Travelogue draws more broadly for inspiration from places in the western, southwestern, and Gulf Coast parts of the United States. The recording’s third piece, on the other hand, was written with uncut gemstones in mind and is thus aptly titled Seven Nuggets. All three pieces, as diverse as they are, collectively provide a solid account of…
The Orchestra of the Swan has recorded its share of repertory material, much of it from the 20th century, but the 2020s have brought some highly effective thematic recordings from the group and its conductor, David Le Page.
Some of these, including 2025’s Light and Shadow, have been denoted as “mixtape” albums, and these feature arrangements and a generally personal flavor created by Le Page. The general Light and Shadow title doesn’t quite get to the specific nature of the program, which is film music, mostly arranged by Le Page except where the lush originals by Ennio Morricone and Bernard Herrmann already fit the general mood. Hermann’s pieces for Alfred Hitchcock’s Vertigo express that mood perfectly. Not all the pieces were written…
It feels an indictment to label someone’s work as gloomy, as though it’s something that happens and not something that’s chosen. But on her latest album, Sabbatical, Rosa Anschütz leans into goth as a genre in a deliberate way. And it’s not only because she features the cawing of crows on a track. Sabbatical is deeply atmospheric with a gloom often enveloping it.
While opening track ‘Eva’ is awash with swampy dissonance, it is a misdirect, for the gauzy effects and layers of wordless vocals hide the sharper edged sounds lower in songs.
Anschütz’s previous work touched on a variety of electronic genres from a dark folktronica to vibrant techno, now replaced by the hard thud of her post-punk bass lines and a voice pulled…
American saxophonist and composer Jason Rigby returns after nearly a decade without recording as a leader. With Mayhem, he makes a vivid statement, expanding musical horizons through pieces that oscillate between serene reflection and volcanic eruption. He is joined by drummer Mark Guiliana, a long-time collaborator of 15 years. Rigby envisioned the project as a reimagining of Interstellar Space — but infused with synths, woodwinds, gongs, and electronics, the latter handled by recording engineer Pete Min.
The album opens with “Siorai” built on a reverb-drenched keyboard figure in seven, understated percussion, and a soft, airy saxophone line. “Fifths” follows with glitch-like harmonies and martial snare patterns, over which Rigby unfurls…
