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Bruce Springsteen began headlining arenas in the northeast as far back as October 1976 when he gigged two nights at the Spectrum in Philadelphia. He returned there for four concerts on the Darkness tour, and hit Madison Square Garden and Nassau Coliseum, too, then yet again in late 1980 on the River tour along with various regional Gardens and Civic Centers.
However, Springsteen wouldn’t play an arena show in his home state of New Jersey until July 1981 because, until then it didn’t have one. When the Brendan Byrne Arena opened in East Rutherford, Bruce and the E Street Band christened the future home of the Nets and Devils with a sold-out, six-show stand.
The new building already made this summer…

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It has been a five-and-a-half year wait since the debut of this large ensemble co-led by Anna Webber and Angela Morris on saxes and flutes. Both Are True, released in early 2020, was an album of the year. So did they do it again with Unseparate? Yeah, they did.
Webber and Morris lead their outfit through a varied set of harmonic and rhythmic structures, including drones, staccato blasts, soaring melodies that become spiky, and dense contrapuntal passages. The Big Band includes four additional players on woodwinds, four on trumpets, four on trombones, and individuals on vibraphone, guitar, piano, bass, and drums. A group of this size adds a richness and depth to the compositions, with Webber and Morris taking measures so that…

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…Listening to Living Being IV: Time Reflections, we are immediately struck by the range of dynamics, the intimacy and extroversion at play in every detail, the rich textures, and the arrangements that allow for riveting moments of surprise. It’s worth remembering that, from the outset with Living Being, Vincent Peirani brought to the fore the concept of chamber music: a small number of performers, with each one playing a unique part, but with the emphasis on the collective rather than the individual.
From the start, with ‘Le Cabinet des énigmes’, the melodic intelligibility is impressive. A sort of children’s song sublimated by the art of superimposing transparencies. Everything is played out in a myriad of details that create…

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Although the title of saxophonist Jordan VanHemert’s fifth album, Survival of the Fittest, may elicit images of a crash course in self-defense, that is not at all what he had in mind.
The music is thematic, he says, and represents the twin lodestars of adversity and resilience. Even that, however, becomes largely irrelevant once VanHemert and his supporting cast launch what is at its heart a narrative of contemporary post-bop jazz.
It is a cast that varies in size and makeup from track to track but whose nucleus is comprised of pianist Helen Sung, bassist Rodney Whitaker and drummer Lewis Nash. Trumpeter Terell Stafford and trombonist Michael Dease are listed in the starting lineup, even though Stafford…

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The city of Oxford over the past few decades has spawned the likes of Foals, Ride, and of course, Radiohead. Looking to emulate some of this high-calibre pedigree, alt-rock four-piece Kanadia have just released their intriguingly titled third album The Fire That’s Tearing Through Our Home.
After their self-titled debut in 2019 and impressive live performances, Kanadia’s music has been widely tagged as “stadium-ready”. Their latest offering certainly doesn’t shy away from that perception with an abundance of dense, anthemic sonics.
It finds vocalists, guitarist and chief songwriter James Bettis soul-searching about his place in life; reflecting on the past, the present, and the unknown, while dealing with severe anxieties. The deep themes and heavy…

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“And you’re off into the burning blue” songwriter Dave Benton sings on “Ponies,” the centerpiece of Trace Mountains’ fourth full-length album Into the Burning Blue. Decorated with retro textures and violet flowers, the album begins with the crackle of a fire, as if something is burning and hatching into a new form. As Benton grappled with the end of an 8-year romantic relationship, songs were pouring out of him in quick succession, often urgently before he had logically processed the emotions himself.
Collectively, the songs are imbued with a spectrum of weighted emotions, but the blue continued to burn, with each song adopting its respective hue – a violet reclaiming of passion, a deep sea blue of sorrow, the sky blue moments of relief…

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While their debut album, Howling at a Concrete Moon, was drenched in modern anxieties and struggling to find one’s place in today’s society, London indie rock foursome Pynch are looking more inward on their second record together, trying to decipher what it really means to be an indie band in the confusing world they attempted to paint a picture of two years ago.
Sadly, Beautiful Noise doesn’t do a great deal in answering these pertinent questions. What Pynch have attempted to do across the ten songs on this follow-up is explore a greater variety of sounds, bringing in shimmering synth textures and occasional glitchiness that layers over the walls of guitar noise that pervade through the majority of the record.

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Baltimore-bred psychedelic funk trailblazers Pigeons Playing Ping Pong release their eighth studio album, Feed the Fire via No Coincidence Records. Across twelve new tracks, the band channels nearly two decades of fearless creativity, relentless touring, and deep communion with their devoted fanbase into their most dynamic and collaborative work to date.
For the band, ‘Feed The Fire’ is not only an album title but a rallying cry. “The fire represents passion,” explains frontman “Scrambled Greg” Ormont. “Making music feels like something we were born to do, and Feed The Fire is the perfect metaphor for our unwavering commitment to keep evolving. We’ve been given this gift of fire, this passion. So it’s our responsibility to nurture it…

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Alice Cohen has manifested throughout alternative music history in improbable ways, from MTV-era new wave with The Vels to Michael Stipe-produced grunge to 2000s hypnagogic pop.
Her latest album, Archaeology, might be her most revealing work yet, which feels almost paradoxical given its prominent use of instrumental tracks. The record seeps through the accumulated layers of a 13-year Brooklyn residency, where her apartment has become something like an archaeological site. Cohen plays her father’s old Yamaha drum machine live rather than programming it, maintaining a tactile connection to family history.
The songs bathe us in both intimacy and mystery, and when Cohen removes words entirely, something within the sonic shapes…

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Luv in the New World is the title of Canadian artist Joe Nolan’s new album, produced by Grammy Award winner Tyler Chester. Mostly recorded on tape live off the floor, there is an immediate rawness and warmth to the sound that adds extra weight to Nolan’s compositions, further enriched by an excellent group of accompanying musicians. The lineup might change from one song to another, but Nolan’s perfectly controlled voice remains as one of the album’s key elements.
The record kicks off with ‘Wake Up Sleepy Anna’, a smooth yet poignant track that was released as the album’s lead single. The lyrics tell the story of Anna, a fictional character who serves as a symbol for hope in uncertain times. It’s a wake-up call in which an optimistic attitude is…

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Things began to take a different turn for Liam St. John in 2021 when his single ‘Dipped in Bleach’ went viral. The temptation at that stage would have been to cash in with an album, but he’s taken four years to carefully plot his course, and you can hear the care taken on all of the 16 tracks of his debut album, Man of the North.
Born in the Pacific Northwest, he’s quite used to storms, and it’s clear that he’s already survived a few as he lays his often troubled past open for inspection. Things kick off with ‘If I Were My Father,’ a particularly poignant song coming from a man who was raised by a single mother. The last line, “if I was my father, I would have just stayed away”, says a lot about his childhood. ‘Believer’ looks at a broken relationship…

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The mask and Stetson have become shorthand for Milo Korbenski’s cultivated mystique, like a minor character in a Nicolas Winding Refn film. But despite the title, Sex Angel, his second outing for Phantom Limb, suggests the costume isn’t a kink. It’s protection. Korbenski has always been prolific, but here he wrings songs out of his own anxieties, externalising private crises through scuffed textures, skewed beats and lyrics that teeter between confession and provocation. He calls it an “optimistic album”, but this optimism has been dragged backwards through a club and kicked out back: protesting, bruised, but still singing.
The album’s three singles tell most of the story. “Six Angle” is all brute persistence, two chords hammered out while a fuzz-choked…

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Samia…includes three discs consisting of the original album, live tracks from Samia’s NPR Tiny Desk Concert, the band version of “Is There Something in the Movies?” and tracks from her cover/remix album project titled ‘The Baby Reimagined’.
A native New Yorker and daughter of professional performers, Samia Finnerty had acted off-Broadway and appeared on prime-time TV by the time she released her first angsty guitar and piano songs as a 20-year-old in 2017. After rising through the touring ranks with opening slots for the likes of Cold War Kids and Soccer Mommy on the strength of early songs, Samia makes her full-length and Grand Jury label debut with The Baby.
Recorded with a trio of producers, including members of Hippo Campus, the album…

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… includes three previously unreleased covers, including her take on Otis Redding’s ‘The Happy Song (Dum Dum)’, recorded during the original sessions.
The second solo long-player from the Canadian folk-pop songstress and former Be Good Tanya, Indian Ocean finds Frazey Ford enlisting the help of the legendary Hi Rhythm Section, who were Al Green’s not-so-secret weapons and the prime architects of the Memphis soul sound during the Stax era, and kicking out a warm, breezy, and not surprisingly soulful set of R&B-kissed country-pop confections that sound as timeless as they do of a particular era. Falling somewhere between Cat Power, Carole King, and Linda Ronstadt, Ford’s sophomore outing dials back on…

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Yes, yes, yes to guitar tones bent by volume, to tone-altered screech with dream-soft vocals flowing over, to pedal boards that look like good-sized train sets, yes to all of it.
There’s a tsunami of latter day shoegaze thundering towards the shore these days, some even would say a surplus. Others might argue that “surplus” is a strong term, a little judgy in fact, and wouldn’t you rather have too much of this than anything else? But regardless, the good stuff in this vein is very, very good, and Shaki Tavi is undeniably on the positive end of the spectrum.
Given the glistening, multilayered drifts of sound, you might expect Shaki Tavi to manifest itself as a band, perhaps a couple of guitar players, definitely a bass player, clearly at least…

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It’s no secret that the world we know today is a dark, violent, frightening place. A recent joke making the rounds on the internet held that for Halloween, homeowners wouldn’t need to put up skeletons and witches to decorate, they would just have to lug the television outside and put on the news. It’s ever more important, then, that there are bands that sound like they’re having fun. They don’t necessarily have to have “fun” themes. They just need to make despair sound like a party. Boston five-piece Guerilla Toss’ 6th LP, You’re Weird Now, does exactly that. It’s a collection of songs about being lost and dealing with the world through drugs, but it makes that sound like the best time on the planet.
Although at their core they’re a punk band,…

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Snuggle’s Goodbyehouse is a Trojan horse for psychic hurt. Some of that pain is inescapably direct, like when Andrea Thuesen Johansen quietly intones, “Yeah, I’m broken,” on “Sticks.” But the Danish duo of Johansen and Vilhelm Tiburtz Strange typically veil their distress with the prettiest ’90s alt-rock. Take “Dust,” their self-described “love song for an apocalypse.” It sounds a bit like Loveless if the shoegaze classic were honest about its feelings. My Bloody Valentine’s album, and so much of the music it influenced, reveled in waves of reverb, as though treating heartbreak and infatuation alike as emotions to burrow inside instead of confront. Snuggle don’t succumb to the same sonic fantasy. Even when the vocals sound frothy and the drums approximate…

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Remastered by Mark Beazley.
Multi-talented producer Susumu Yokota returns to the ambient realm with the beautiful and diverse Sakura. When he indulges his fondness for pop hooks with his dancefloor material, Yokota’s melodic choices are glossy and extroverted, but his music for home listening is focused, controlled, and deeply internal. His knack for blending traditional instruments like guitar and piano with simple electronics harks back to ambient music’s birth in the mid-’70s; at times Sakura recalls the work of pioneers like Brian Eno, Cluster, and Manuel Göttsching. The icy “Saku” sets the meditative tone on Sakura, with gentle, winding guitar lines, relaxed synthesizer oscillations, and plenty of breathing space for the minimal…

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