In 2016 and 2025, Washington alt-rock innovators The Melvins toured as co-headliners with UK grindcore veterans Napalm Death under the banner Savage Imperial Death March. The tours showcased contrasting heavy styles. The Melvins, pioneers of the grunge and sludge metal movements, bring intricate riffing at various tempos and odd time signatures, while Napalm Death, pioneers of the grindcore scene, favor an abrasive, ultra-fast mixture of punk and metal with harsh vocals. Now the bands join forces for their first collaborative album, Savage Imperial Death March, and the result is wild, messy fun.
The album features The Melvins’ Buzz Osborne on vocals, guitar, and bass, and Dale Crover on drums. From Napalm Death are singer…
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You don’t have to hail from the Southeast to have heard of, or appreciated, the music of Drivin N Cryin… but it helps. While they have toured nationally, their slightly off-kilter Southern approach has been, not surprisingly, most popular in red clay states.
No need wondering how long they have been active either, since the answer (1985) is on the back cover, as large as the DNC type font.
The Atlanta based outfit – usually a four-piece, sometimes a trio – has been at it for forty years, although there have been decade-long waits between releases. Frontman/singer/songwriter Kevn Kinney has also crafted a solo career simultaneously with DNC, often with his side project band, the slightly more…
Although Brown Horse are soaked up to their collective armpits in various signifiers of a very recognisably American musical lexicon (pedal steels and the lure of the road leading out of town feature prominently here), the Norwich quartet (accompanied by drummer Ben Rodwell and backing singer Neve Cariad) achieve an identifiably British take on various alt. country/Americana staples on the startlingly assured, often viscerally raw Total Dive.
With all four members sharing the songwriting duties equally, the ten songs on Total Dive venture from grizzled, petrol-fumed bar room boogie (the title track, with the track’s energised gallop deliciously at odds with the downbeat dead-end vibes of the lyrics) to desolate…
On the first two Fantastic Cat records, the quartet of singer-songwriters (Anthony D’Amato, Brian Dunne, Don DiLego, and Mike Montali) brought their own styles successfully into a band setting. However, on their third album, the cheekily titled Cat Out of Hell, Fantastic Cat feels like a long-running, well-oiled, veteran outfit.
Things are more fluid as individual contributions have melded, crafting an overall, interlocking sound. The extremely well-produced album adds sonic touches like strings, harpsichord, and tambourines to spruce up the group’s solid base of indie/folk rock tunes, all delivered with pristine harmonies and evocative lyrics.
Opening exuberantly with “Donnie Takes the Bus”, Fantastic Cat drops into a cheery,…
Born in Tehran in 1983 as son of the world renowned tar and setar virtuoso Hossein Alizadeh, Saba Alizadeh established himself not only as a true master on the Iranian spike fiddle kamancheh but one of the groundbreaking voices in contemporary Iranian music.
After the critically acclaimed releases Scattered Memories (his international debut, released on Karlrecords in 2019), I May Never See You Again (2021) and last year’s Temple of Hope, his new album Rituals of the Last Dawn unfolds as a deeply meditative dialogue between tradition, experimentation, and the present moment. The Iranian composer and kamancheh virtuoso — widely recognised for bridging classical Persian heritage with avant-garde sound — crafts…
If you’ve recently listened to Okkyung Lee’s just like any other day, take a minute to collect yourself and reset expectations before diving into the South Korean cellist’s new record. While Lee’s 2025 collection of charming and bright-eyed, keyboard-focused ambient miniatures wouldn’t feel out of place in pastoral passages of a JRPG soundtrack, Signals, a commission by London’s Explore Ensemble, is stark, grave, and sharply abstract from first note to last.
The first sounds we hear, in fact, on the opener ‘Siwan’ (named for pianist Siwan Rhys) are the echoes of a resounding yet dangerously unstable piano stab. The sonic shape feels at once awfully close and impossibly distant, as if we were peering into the instrument’s guts…
On Alkebulan, the second recording by his Washington, DC-area Jazz Orchestra, composer, arranger and trombonist Javier Nero pays loving tribute to his African heritage, as he did on the orchestra’s earlier album for Outside In Music, emet (The Black Land). As before, Nero uses his considerable skills as a writer and orchestrator to share and amplify his vision of a once-thriving civilization whose framework and particulars have been swept away in the historical narrative but whose impact on the human race was and is pivotal and decisive.
Alkebulan, Nero writes, “is one of the oldest native words to describe the continent of Africa,” bearing the connotation of “‘Mother of Mankind’ and ‘Garden of Eden.'” In Nero’s capable…
Long before Caterina Barbieri’s Eurorack met Bendik Giske’s tenor saxophone, the two artists were already on the same wavelength. The Italian modular savant and the Norwegian reed player have both situated their sounds to the left of center, thriving at the edges of their respective instruments and conservatory educations. Giske uses his classical training to translate his experiences on Berlin’s queer techno circuit into gymnastic transmutations of breath. Barbieri, recently named artistic director of Venice Biennale’s music department, once got booted from a church venue because a priest found her music “satanic.” Their first joint EP, At Source, gathers four hypnotic improvisations that move like drill bits, spiraling towards a creative core that’s…
You don’t essentially need to be an innovator that breaks boundaries to come up with good music that could reach quite a number of listeners.
As a solo artist, you do need a hefty dose of musical talent, an excellent voice (and/or instrumental ability), good songwriting skills, and a taste in arrangements and collaborators you use for your recordings.
Born in Alaska and now based in Cape Cod, singer-songwriter Kim Moberg presents all of the above in abundance on her new album All That Really Matters. Sure, there’s nothing overly fancy or drastically new here — yet Moberg has a strong songwriting sense that includes good lyrics too, possesses an excellent singing voice, and she exhibits an impeccable taste…
A flicker of light was the namesake of Lia Pappas-Kemps‘s first EP, 2024’s Gleam, but the Toronto singer-songwriter’s full-length debut Winged proves that she’s more than just a flash in the pan. The idea of depicting a new indie rock-adjacent local artist often conjures one blurry-edged, vague cipher with a pretty generic sound profile. While Pappas-Kemps is adamantly a deviation from the norm, depending on where you start with her already-chameleonic œuvre, that may or may not be immediately apparent.
The second half of Winged opens a portal that makes it undeniable. On a twisted, knotty tree trunk of a song called “Wound Up and Coiling,” Pappas-Kemps kicks the project’s mouth agape as the titular tension becomes too much…
For the vast majority of the recorded output under his Plankton Wat pseudonym across well over two decades, Dewey Mahood has operated as a solitary sculptor. Yet, in more recent years, guest accomplices have been drafted-in to subtly contribute sonic parts or to help technically refine the end products, most notably on 2021’s tremendous wider-screen Future Times and 2024’s mesmerically minimised Corridors.
With The Vanishing World, Mahood goes a far fuller hog, in reconfiguring the project as a pan-dimensional quartet, drawing from the energy of largely undocumented Plankton Wat live line-ups; his past ensemble work with Eternal Tapestry, Galaxy Research and others; and embracing a more kaleidoscopic studio-enabled scope.
Martín Schellekens and Martín Espinosa have never been shy about their fondness for Sonic Youth. They started out calling themselves Hey Joni, after all. But that alias didn’t last; eventually they hit on Land Whales, a name with no associations attached. Subtly surrealistic, “Land Whales” conveys a blurry constellation of ideas: brute force and sheer impossibility; weightless grace and its gravity-bound opposite.
All those potential connotations take on greater significance when you consider that the group came together in Cuba and recorded its music — a fusion of grunge, post-hardcore, and shoegaze — in a Havana apartment, against all odds.
Land Whales’ sound is uncannily familiar. Their second album, How to Make a Breakfast,…
Remember when Matmos’ Drew Daniel posted about “hit em,” an imaginary electronic genre at 212 bpm and in 5/4 time? Seoul-based producer Guinneissik was one of many across the world who submitted an interpretation: “London Hammer,” a noisy techno belter with screamo vocals, later included on the resulting Machinedrum-curated compilation. But 2024 was already shaping up to be Guinneissik’s breakout year, with his slow-building trance single “Farewell Two Shell” nominated for Best Electronic Song at the Korean Music Awards. Daniel’s infamous tweet might have sparked Guinneissik’s entry into an international story, but the kindling had been accumulating for years.
Learning the ropes of Ableton from Korean electro-house pioneer KIRARA, Guinneissik…
Montreal-based Chadian producer, singer and guitarist Caleb Rimtobaye, aka Afrotronix, fuses ancestral African tradition with future-facing electronics. KÖD expands his exploration of the sounds of his homeland – weaving tama and other hand percussion, sampled Chadian call-and-response singing, and more, into his ear-grabbing electronic compositions. The album balances the familiar, from desert blues guitar licks to Sahelian polyrhythms, with outlandish and experimental programmed elements.
Opener ‘Incertitude’ kicks things off in fine fashion with treated vocal samples, hand percussion and squelchy synth refrains. The addition of a clutch of guest vocalists mixes things up and adds even more colour to proceedings.
The number of recordings that combine electronics with acoustic instruments and sounds picked up in the field (whatever that field might be) is proliferating by the day. Yet, as it could be expected, it is always a hit and miss affair, often depending on the ability of the artists involved to make a musical combination that actually works in a manner that all those sounds involved create the result all involved are set to create and something that listeners can actually relate to.
The combination of Ben Seretan & John Thayer goes for such a concept on the duo’s joint offering Sunbeam of No Illusion in an attempt to reverse the concept described as “machine in the garden,” something attributed to American Transcendentalists, a 19th-century…
BODY SOUND brings frequent collaborators Whitney Johnson, Lia Kohl, and Macie Stewart together in a string trio format. The album’s pieces are all based in improvisation, and they’re all shaped by the spaces they were recorded in, which included two Chicago recording studios and the Big Ears Festival in Knoxville. Engineer and co-producer Dave Vettraino helped out by manipulating tapes and sonically translating the unique qualities of the recording locations.
All of the pieces’ titles were drawn from Yoko Ono’s book of text scores, Grapefruit, and all consist of everyday items and actions. The compositions are intimate and delicate, yet they find ways to escape their confines, as if the musicians and their instruments are entranced and…
1. Miles Davis – When Lights Are Low
2. Sarah Vaughan – It Might As Well Be Spring
3. Sonny Rollins Quartet – I Know
4. Charlie Parker’s All Stars – Ah-Leu-Cha
5. Miles Davis – Jeru
6. Coleman Hawkins All-Stars – Bean-A-Re-Bop
7. Miles Davis – Weirdo
8. Miles Davis – Générique
9. Michel Legrand – ‘Round Midnight
10. Lee Konitz Sextet – Odjenar
11. Miles Davis All-Stars – Milestones
12. Cannonball Adderley – Autumn Leaves
13. Miles Davis – The Maids of Cadiz
14. Herbie Fields Band & Rubberlegs Williams – That’s The Stuff You Gotta Watch
15. Miles Davis Quintet – Solar
When Bob Reynolds first heard tenor saxophonist Eddie Harris, he was more than impressed. “I’ve been inspired by his music ever since,” Reynolds writes. Indeed, he was. So inspired, in fact, that there is more than a little Harris in his tenor’s tone and temper on Eddie Told Me So, in which Reynolds’ quartet does its best to refresh the Harris legacy for a new generation of listeners as well as for those who may have overlooked the legendary tenor the first time around.
Even though the songs are dissimilar, the Harris vibe and groove are ever-present. That includes generous helpings of soul and funk to accompany frequent forays into the tenor’s altissimo register. Reynolds is on his game here, managing without imitation to infuse into every…
Leah Blevins begins her new album with the title track, “All Dressed Up”. She ends the record (presumably) naked with the cut “Centerfold”. One could see the eight tracks in the middle as a sort of striptease. Blevins sings her first-person confessional songs as she sheds layers of self-deception in search of her authentic self.
Blevins is serious but not afraid to be funny in her vulnerability. Despite her resolute concerns, she can’t help but smirk at her own failures and smile at her successes. The Kentucky-born singer-songwriter addresses the Lord as “Hey God” and wryly asks, “Do You really love me like they say You do?” On “Tequila Mockingbird”, she puns off the title, which refers to a type of alcohol, her Southern roots (“To Kill a Mockingbird”),…
Joe Jackson has spent nearly half a century not staying in one place too long. Through highlights (1979’s new-wave-meets-bar-band debut, Look Sharp!) and lowlights (the 1997 classical concept LP Heaven & Hell), the British singer, songwriter and multi-instrumentalist has crossed genres as frequently and effortlessly as the contemporary he’s most often compared to, Elvis Costello.
His previous record — 2023’s Mr. Joe Jackson Presents: Max Champion in ‘What a Racket!’ — was an all-original set of songs inspired by the waning days of British music hall, complete with boisterous horns, musicians banging on pots and pans, and numbers featuring plenty of double entrendes. At this point, there are only a few genres Jackson hasn’t yet graced.