Whenever an established group releases a self-titled album in the middle of their career, it acts as a symbol of rebirth, a new direction, course correction, or perhaps a last gasp.
St. Paul & The Broken Bones’ self-titled release finds them centering their sound and style, as frontman Paul Janeway states, “I think the band in general feels reignited”.
Over their last few releases (2018’s Young Sick Carmella, 2022’s Alien Coast, and 2023’s Angels in Science Fiction) the group has drifted further and further from their retro-soul debut and during the ten new tracks they bring that horn drenched sound back to their core.
The Birmingham, AL-based outfit stayed in state, working with producer Eg White at…
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Sister John have been about for a few years now so it is perhaps no surprise that there is much in the way of maturity to be found in the words and music that make up the fifteen songs of Don’t Worry, It’s Forever.
It would be easy, therefore, to regard this album as being a serious one. One that successfully combines melody and melancholy as part of this band’s musical recipe for emotional catharsis. One that injects elements of both fragility and heartfelt sentiment into a framework that many might regard as an indication that the inside has become the new outside even if Sister John – Amanda McKeown, Jonathan Lilley, Sophie Pragnell, and Heather Phillip – do so whilst sounding like they have just walked out of the mists of the past.
Gilles Peterson presents International Anthem is a double-LP-length compilation of tracks from Chicago-born record label International Anthem curated by legendary London-based radio host, DJ, label head, and cultural impresario Gilles Peterson.
The twenty-nine tracks on this compilation chronicle Peterson’s long-standing affinity for and connection to International Anthem’s expansive creative music community, and were chosen by an extensive review of playlists from his broadcasts on BBC 6 Music, Worldwide FM, and various syndicated radio programs.
The compilation includes a previously unreleased track recorded by Ibelisse Guardia Ferragutti & Frank Rosaly at Peterson’s Brownswood Basement studio in London.
The history of experimental musicians from Europe and North America adopting Japanese aesthetics is… patchy. It got especially dodgy in the 1990s when every other electronica dork started flinging random kanji characters on their sleeves, writing soundtracks for imaginary Akira bike races and the like. And there are so, so many ambient producers who reference Zen gardens, minimalist interior design and bamboo flutes, you can’t go into a health spa without knocking over a pile of their CDs.
Thankfully Catskills Mountains-raised, LA resident soundscaper Emily A. Sprague is a little bit more substantial than this. Well, perhaps “substantial” isn’t the word for her distinctly mist-like structures, but her engagement with…
There’s a thread of trauma running through most of The Antlers’ albums, and their latest is no exception. Yet while the band’s earlier work, particularly 2009’s Hospice and 2011’s Burst Apart, explored the psychological toll of distress on an individual level, Blight takes a more global approach. Singer, guitarist, and songwriter Peter Silberman here mourns the degradation of the natural world through waste, pollution, and sheer apathy. There are plenty of ways that theme could go wrong, but Silberman manages not to sound doctrinaire or heavy-handed on these nine songs, even as he quietly excoriates a culture of convenience that has chosen to overlook the consequences of next-day delivery and cheap mass-production. Mostly, he sounds…
Though he announced his retirement in 2018, few were convinced Salif Keita had sung his last and he now appears to be being coaxed back into the spotlight.
Two years ago, aged 73, he played the Kyotoponie festival in Japan; and it was in his hotel room afterwards that he – reluctantly, as he said his playing would be substandard – picked up his guitar and, with the help of ngoni (lute) and calabash percussion, recorded these nine tracks.
At its best Keita’s music had an extraordinary lushness; stripped of this, there’s still a brittle, unavoidable magic in the air.
His voice is magnificent, the songs simple and moving. He revisits “Tassi” (from 2012’s Talé) and “Laban” (first heard on 2005’s…
…Though Ohio singer-songwriter Mark Allen Scott, who releases music under the moniker villagerrr, has not been at it long, his newest record is, indeed, that massive step forward most artists pine for.
Whatever that might mean for Scott, Tear Your Heart Out feels like a clear line of demarcation between what villagerrr once was and what it, one day, might become, (and one of the more exciting albums of the year up to this point).
…villagerrr has been, to this point, a quintessential lo-fi indie artist, releasing music from his Ohio bedroom straight into the world at an impressive clip. Since his earliest recordings back in the fall of 2021, Scott has released six mid-to-full-length albums, experimenting and…
Flock of Dimes – the solo project of multi-instrumentalist and producer Jenn Wasner – releases her third album, The Life You Save, worldwide on Sub Pop Records.
Across the last few decades – whether it be as Flock of Dimes, as half of beloved duo Wye Oak, or via one of her many collaborations with Bon Iver, Sylvan Esso, and a sprawling list of other musical juggernauts – Wasner’s extensive catalog displays her gift for balancing authenticity and directness with an unmistakable left-of-center sensibility. Her songwriting has always found her as a keen-eyed observer, a deeply empathetic and thoughtful storyteller with a skill for probing memory, heartbreak, and unhealed trauma, a shroud of syncopation or off-kilter guitar taking…
Following up their 2024 Grammy-winning Blood Harmony, the southern rock/blues/roots sister duo Larkin Poe brings us, Bloom, with all songs a collaboration between Megan and Rebecca Lowell and their co-producer Tyler Bryant.
The duo, backed again by their touring bassist and drummer, Tarka Layman and Caleb Crosby, respectively, have Bryant (bass, electric guitar, 12-string guitar), Michael Webb (B3), and Eleonore Denig (strings) joining them in the studio. It’s an album about celebrating individuality, standing tall amidst the noise, and being true to oneself rather than bending to expectations. For this high-energy band that burns up stages, the lyrics are often secondary, but the duo strives to put more emphasis on…
Australian trio The Necks have consistently made music that is at once mesmerizing yet never static. Whether it’s a single piece or the span of an entire album, their musical approach is always captivating. Disquiet is the band’s 20th album. It contains four works spread across three discs and three hours. Keyboardist Chris Abrahams, upright and electric bassist Lloyd Swanton, and drummer/percussionist Tony Buck on drums and percussion have always been considered a jazz trio, but in actuality, the Necks’ music is unclassifiable.
The first two discs contain a track each, the third contains two. Opener “Rapid Eye Movement” offers a spectral, minor-key piano pattern answered by a strummed bass chord as drums adorn the margin sans pulse. Abrahams adds his…
…Remastered from the original analog files, the special anniversary release sees a wealth of brand new material including seven unreleased tracks from the album’s multitrack sessions, mixed by Paul Humphreys. The release also comes with two demos, an alternative mix, four never-before-heard songs, plus non-album b-sides and extended or 12” mixes.
First released on June 17, 1985, the band’s sixth album took OMD across the pond and became their breakthrough record in the United States. Spearheaded by the single “So in Love,” which entered the Billboard Top 40, and radio smash “Secret,” the album received acclaim in the U.S. and also saw success in the UK and Europe. It peaked at No.13 on the UK Official Album Chart.
After getting back home after touring behind their 2023 album Datura, the duo behind Lorelle Meets the Obsolete found themselves in a tough spot. Low on funds and lacking inspiration, they pondered giving up music entirely. Eventually the spark began to flicker again, and they began to work on new songs. What they came up with was different enough from previous work — both the dreamlike psychedelic waves of the early records or their corrosively experimental more recent sounds — that they thought maybe they would change their name. They decided to keep the name the same and with the help of Suuns’ live mix engineer Antoine Goulet recorded 2025’s Corporal. The record certainly covers some new ground for the duo — many songs have…
…includes two bonus tracks from the original recording sessions: “Dead Armadillo,” co-written with producer Bobby Harlow, and a cover of Neil Young’s “Don’t Let It Bring You Down.”
“You pin me up just to tear me down/ I’m not your paper doll,” Samantha Fish spits out on the title track of her new album, Paper Doll.
To be sure, such bad-ass bravado is no surprise to anyone familiar with the blues-rocker’s steadily rising career. It’s practically her calling card, along with her torrid guitar playing. Rarely, however, has it been delivered with the kind of sonic assault unleashed here. As electrifying as Fish has proven to be as a singer and player, Paper Doll takes her to another level.
The album, which follows 2023’s…
The guitar-band-remix-album is a scarce phenomenon. Especially in its entirety like this; a few tracks, sure, but an entire track list remixed by thirteen different artists is borderline unheard of in the current state of British guitar music. For Leeds-based quartet English Teacher, it’s serving as a satiating pit stop while the world eagerly awaits their second album.
For four individuals seeking catharsis within a four-piece rock band, it’s evident a conflation of diverse influence spilled into the debut album, 2024’s Mercury Prize-winning This Could Be Texas. It traverses post-punk, balladry, mathy art rock, the occasional glitched out moment of weirdness, passages of haunting strings, and some of the most ridiculously talented…
The Besnard Lakes may never have quite made the commercial breakthrough that the ‘other’ husband/wife band from Montreal, Arcade Fire, made, but their sheer longevity means that a new album from Jace Lasek and Olga Goreas is always a welcome event.
Although never the most overtly political of bands, there’s an unmistakable edge hanging over Are the Ghost Nation, the band’s seventh album. Lasek has described a ‘ghost nation’ as the death of a country, with explicit mention of the remote but real threat to Canada of becoming the 51st of the United States.
So, although the overall sound will be a familiar one to Besnard Lakes long-term fans, there also seems to be an air of defiance hanging over…
Groove in the Face of Adversity is Don Was’ very first solo album. The A-list producer, composer, arranger, bassist, radio program host, and Blue Note Records boss co-founded Was (Not Was) with David Weiss, but this is his thing. His Pan Detroit Energy Ensemble is composed of players from in and around the Motor City: saxophonist/flutist Dave McMurray, keyboardist Luis Resto — both were in Was (Not Was) — trombonist Vincent Chandler, drummer Jeff Canaday, trumpeter John Douglas, guitarist Wayne Gerard, percussionist Mahindi Masai, and vocalist Steffanie Christi’an (Inner City vocalist and Kresge fellow). The band’s M.O: “We are on a mission to promulgate the music of our hometown.” Was was approached by Detroit Symphony Jazz Creative Director…
Capturing light is not easy: ask any outdoor photographer. In order to capture the perfect shot, one has to be ready for fragmentary shifts in illumination. In that spirit, Caught Light is Great Lake Swimmers’ ninth album, and perhaps their most nimble: be prepared, don’t overthink, act fast.
Founder Tony Dekker has always been akin to a wildlife photographer, often choosing to make records in unique surroundings with a connection to Ontario history. This time he holed up in the Ganaraska Forest, between Peterborough and Port Hope, with producer Darcy Yates (Bahamas) and engineer Jimmy Bowskill (Blue Rodeo). Their goal was to tap the warmth of early ’70s folk/pop/rock, whether it be the cozy sonic sweater of Gordon Lightfoot’s classic work, or the gentleness…
The trouble with being in two great bands at once is one is usually going to take precedence over the other, which means sometimes the smaller group has to bide their time. Such is the fate of the Autumn Defense, the superb indie pop band led by John Stirratt and Pat Sansone, both of whom are also members of Wilco. Being under the employment of Jeff Tweedy keeps them profitably busy, and after the Autumn Defense issued Fifth in 2014, it took Stirratt and Sansone eleven years to scare up the time to complete their sixth album, 2025’s Here and Nowhere. Thankfully, it was more than worth the wait. Stirratt and Sansone’s command of 1960’s baroque pop and 1970’s soft rock is truly remarkable, and with Here and Nowhere, they’ve fashioned an impressive…
