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A central fixture in the world of string quartets for the past thirty years, the Zehetmair Quartett’s ECM recordings of Schumann, Hindemith, Bartók and Hartmann have received luminous praise — Gramophone lauded their Schumann as “Record of the Year”, while The Sunday Times described their Hindemith and Bartók performances as “playing of huge finesse in both pieces,” calling them “a real benchmark”.
For this this newest entry to their New Series catalogue, the quartet turns to Johannes Brahms’s first two string quartets, Op. 51 Nos. 1 and 2 — works of mature reflection and dramatic urgency that reveal Brahms’s mastery of form. The composer had after all written over 20 quartets prior two these two, as he confided to…

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“Cooperation, interdependence and kindness” are the qualities that Meredith Monk emphasizes in Cellular Songs, “as an antidote to the values that are being propagated right now.” Of the work’s premiere performance the New York Times wrote, “Ms. Monk spun together divergent elements so fluidly that it created an unmistakable sense of hope. It’s much easier to conceive of bridging public divides — or even containing multitudes, as an individual — when you witness a synthesis like the one created in Cellular Songs.”
The second part of an interdisciplinary trilogy begun with On Behalf of Nature, Cellular Songs looks inward, at the fabric of life itself, and draws inspiration from cellular activity including replication and mutation, in the course…

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Seefeel‘s take on electronic music is not quite like any other outfit’s, and the particularities of their sound were apparent from their earliest output. While their 1993 debut full-length, Quique, is a master stroke of their brand of dubby, dreamy underwater shoegaze shot through with deep bass, the material that made it to several of their EPs that same year is just as powerful. Enter Pure, Impure, an EP that captured three stray tracks of Seefeel’s unique rhythmic and hypnotic dreamscaping, as well as some remixes. “Plainsong” is an upbeat and sprightly tune with the vocals buried deep in the mix, hitting the same stride as some of the more drum machine-reliant tracks on My Bloody Valentine’s Loveless, and the nearly 11-minute-long “Minky Starshine” evolves…

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‘Trouble in Paradise’ (Expanded Edition) features a newly remastered version of the original, a rare live recording making its U.S. debut, and 13 previously unreleased demos for tracks like “Christmas In Cape Town” and “My Life Is Good.”
…Like Little Criminals (which introduced “Short People” and “Baltimore”) Trouble in Paradise was heavily influenced by the Los Angeles scene and, as a result, often resembles a sequel to that 1977 effort. (1979’s Born Again, a darker and more prickly set, came in between.)  Co-producers Russ Titelman and Lenny Waronker enlisted Rickie Lee Jones, Linda Ronstadt, Jennifer Warnes, Lindsey Buckingham, Christine McVie, Don Henley, and Bob Seger to provide vocal support for some of Newman’s strongest compositions…

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With her full-length Skullcrusher debut, Quiet the Room, Helen Ballentine established a floaty, almost ambient sound, one where songs were swathed in gossamer layers of synths, guitars, strings, field recordings, and unidentifiable electronic whispers alongside wispy, ruminative vocals and introspective lyrics. If anything, she takes this sense of untethered atmosphere even further on And Your Song Is Like a Circle. She began working on the album after moving across the country from Los Angeles to upstate New York, a move that was followed by long periods of isolation. She assembled it somewhat piecemeal, capturing ideas over a period of three years and recording them at home, at friends’ studios, and with Aaron Paul O’Brien (Los Angeles) and…

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…feature three new tracks, including “Tie You Down” in collaboration with Bon Iver, ‘The Story 0f Us’ and ‘Even The Bad Times’.
At a time when so many pop artists are creating concept albums, it can be refreshing to listen to one that speaks directly to the current moment through an incredibly clear-cut and deeply resonant theme: breakups. Given how both Trump administrations, the pandemic, the #MeToo movement, and a thousand other bad things have contributed to our isolated, unstable milieu, it’s no wonder more and more young people, particularly young women, are becoming increasingly hesitant about and dissatisfied with dating. Who better to articulate the nuances of this romantic apprehension and discontent than…

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Ostensibly, this is a set of blues standards performed by the Grateful Dead at various times in their extensive career, covered by veteran roots musician Luther Dickinson. But that doesn’t describe, or even imply, that these nine tunes sound nothing like what either Dead or blues lovers would expect.
Instead, the somewhat deceptively titled Dead Blues Vol. 1 sets the original lines of iconic tunes like Bo Diddley’s ‘Who Do You Love,’ Muddy Waters’ ‘King Bee,’ Willie Dixon’s “I Just Want to Make Love to You” and “Little Red Rooster,” and others, to fresh, often inspired, yet radically altered grooves unlike anything either the original writers, performers, or the Dead, could have imagined.
The backstory is that in 2013, the Grateful…

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The newest album from Todd Snider finds a broken man breathily singing sparse numbers as High, Lonesome and Then Some feels less like an album title and more like Snider’s perpetual state of mind over these nine tracks.
Known for his humor and insightful songwriting, Snider scales it all back, delivering generalities via gravelly dirt road blues that at times feel like demo offerings or first takes. Working with producers Aaron Lee Tasjan, Robbie Crowell, and Joe Bisirri, the exasperated Snider employs a band (Tasjan on second electric guitar, Sterling Finlay on electric bass, and Robbie Crowell on drums) but mostly regulates them to minimalist support or sitting on the sidelines.
Snider tries on an uninspired, less musically…

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Boz Scaggs rarely does a less than wonderful album. His latest is an exemplary collection of smooth and soulful standards and a few other choice items including a song he wrote for his first album Boz Scaggs (1969) “I’ll Be Long Gone” and an Allen Toussaint song that was a hit for  Irma Thomas, “It’s Still Raining”.
The first re-invented with brio and barely echoing the original, and the second – one of the high points of the album – in essence true to the New Orleans ballad, but sounding more chilled and jazzier, and there’s no harm in that. The trouble with this exceptional track – a little masterpiece – is that it puts everything that follows in the shade, on an album which at times feels a little samey.
Boz has done his share of soul, disco and…

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Carlos Dafe, born in Vila Isabel, Rio de Janeiro, grew up surrounded by music and poetry. His father, a chorinho player, and his mother, a poet, nurtured his talent from a young age. By four, he was correcting notes in his father’s rehearsals; by eleven, he was studying at the Conservatory of Music, and by fourteen, he was performing with ensembles and orchestras. In the 1970s, Dafé became a pillar of Brazil’s Black music movement, alongside Tim Maia, Cassiano, Wilson Simonal, and Banda Black Rio. Known as “The Prince of Soul,” a title bestowed by Nelson Motta, Dafé brought samba, soul, and funk into harmony, creating enduring hits like ‘A Beleza É Você Menina’.
Dafé’s career spans decades of collaborations, accolades, and cultural…

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The moment Brittney Parks got an iPad and an electric violin, her world shifted. It was then that she started making the innovative vocal and string loops that she would later become known for as Sudan Archives. With each release, she explores new territory, reinventing herself and her sound. Parks’s latest album achieves no less, taking listeners on a journey through a futuristic, chrome-plated world born of her imagination.
Heavily inspired by club sounds in Chicago and Detroit, THE BPM presents a more confident, refined Sudan Archives; this time, as Gadget Girl, “a technologically advanced musician who’s exalted by her embrace of technology,” according to a press release for the follow-up to 2022’s breakthrough Natural Brown Prom Queen.

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It’s seven years since the Belgian brothers Dewaele unleashed their fine, largely instrumental and foot-stomping Essential album on the world, but they’ve given short shrift to any ideas of sitting on their laurels in the intervening time. Their new album, All Systems Are Lying still points emphatically towards the dancefloor, but it brings plenty of new flavours to their sound and is considerably more song-based than its predecessor.
This isn’t to say that Soulwax have gone down the standard guitar, bass and drums route on their new album. Their sound remains emphatically guitar-free in fact and still sits very much in electronica territory despite their three drummers. There are, however, shades of LCD Soundsystem and Depeche Mode evident especially on…

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For much of their career, bar italia have existed at a crossroads, always alternating between two types of mystery: that of bedroom experimentalists and that of indie cool kids.
In the early days, fans of the Dean Blunt-led world music scene from which they emerged struggled to rationalize it. Sometimes the band seemed to offer the same obtuse pleasures as their experimental forefather, while at other times they simply delivered great songs. The band’s own sound reflects this, with its odd mix of endlessly catchy guitar riffs and slacker amateurism. Even the interviews maintained their mystery; the band appeared so unpretentious that some began to perceive pretension in them. People often project ideas onto bar italia, rather than confront…

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…The new edition was remastered at Abbey Road Studios.
John Darnielle is a compulsive writer forever clutching his stomach as songs pour out uncontrollably into whatever recording device is in front of him. What sets him apart from other prolific artists in the indie rock world (Conor Oberst, Ryan Adams, Stephin Merritt) whose records and side projects can’t keep up with the flow of their pens is his almost alarming gift for pairing quantity with quality. After dropping the devastating Tallahassee — a record that followed in gory detail the imagined demise of a Florida couple’s marriage — in 2002, he turned his focus inward, taking an almost autobiographical stance on the follow-up, We Shall All Be Healed,…

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…20th Anniversary Edition of the album includes multiple B-sides from the same time as ‘Feels’, such as crowd favorites from the time like the abstract “People” and the lively, romping “Tikwid.” It also includes a handful of never-before-heard demos for songs that were fully realized on ‘Feels’, and more.
While critics found it easy to lump Animal Collective in with the freak folk scene after the strumming madness of Sung Tongs, Feels may cause them to revise their opinions — slightly. First, this is more of a rock record, especially early on; the frequent cymbal crashes and pounding drums leave little doubt. Second, Feels has less of the aimless meandering of many artists in the freak folk scene. AC can, and do, explode at any…

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On her last solo break from The Pretenders, Chrissie Hynde recorded an album of Bob Dylan covers, accompanied by guitarist James Walbourne. The arrangements were simple, but you could feel the depth of her understanding of the songs in her voice. Four years on she’s released another covers album, this time songs by different artists, sung as duets with different singers.
Here too you sense her relationship with the songs. An interesting selection, mostly on the slow side, there’s retro pop (‘Love Letters’, with Garbage’s Shirley Manson; ‘It’s Only Love’, with Julian Lennon); R&B (‘Me & Mrs Jones’, with k.d. lang; ‘Every Little Bit Hurts’, with Carleen Anderson); and psychedelic folk (‘Dolphins’, with Depeche Mode’s Dave Gahan). The project grew from…

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The Greek duo of lyra player Sokratis Sinopoulos and pianist Yann Keerim’s first studio statement is a deep well of inspired musical dialogues that cross the idiomatic space between European folk tradition and chamber-jazz seamlessly.
Bartók’s six “Romanian Folk Dances” appear in newly shaped guises throughout the album, with Sokratis’s painterly lyra playing setting a lyrical counterpoint against Yann’s in turns rhythmically propulsive and quietly thoughtful accompaniment. This is the first time the duo is heard distilled from Sokratis’s acclaimed quartet (albums Eight Winds and Metamodal) and their conversations interlock gracefully, always responsive to one another and with a keen sense of space and atmosphere. Their own duo elaborations join…

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If it had been released any other year, The Telephone Numbers’s 2021 album The Ballad of Doug would’ve been an indisputable highlight of the jangle pop genre. It has all the requisite qualities: winsome vocal melodies, delivered with scruffy sweetness; silvery electric guitar strings, strummed ‘til pillowy soft; a strolling pace and sun-dappled vibes to balance the melancholy.
It’s terrific, but it didn’t get the attention it deserved — not because of critical indifference, necessarily, but because 2021 just happened to be a loaded year for jangle pop, with top-shelf releases by Ducks Ltd., The Umbrellas, Teenage Fanclub, Chime School, Quivers, Massage, The Reds, Pinks & Purples, and The Boys With The Perpetual Nervousness, to name just a handful.

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