The trio Tchotchke delivers a strong dose of art-pop that is of the current moment but touches on influences from the genre’s heyday, as Playin’ Dumb is far from ignorant. The NYC-based trio, comprising Anastasia Sanchez on vocals and drums, Eva Chambers on bass, piano, keyboards, and vocals, and Emily Tooraen on guitar and vocals, wrote and recorded the songs produced and engineered by The Lemon Twigs. Sonically, the album sounds vibrant with soaring vocals, deep bass, and crisp drums. There is also a lot of added instrumentation that moves these songs in unique directions behind the high-pitched singing of Sanchez, Chambers, and Tooraen.
Opener “The Game” is where the most experimentation occurs as Tchotchke…
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The eponymous debut of Oh Wonder came about in September 2014, when the songwriting team of Anthony West & Josephine Vander Gucht embarked on a goal to record and release a song per month for a year, culminating in a full-length album. What the duo didn’t foresee was accumulating millions of digital streams of their songs in the meantime, leading to a record deal with Republic Records and sold-out future tour dates before the album was completed or they’d ever set foot on a stage.
The resultant 15-track LP (including two previously unreleased tracks, “Without You” and “Plans”) is a unified-sounding, thoroughly mellow, wistful collection of bedroom keyboard-and-drum-machine tunes defined most prominently by West and Vander Gucht’s unison vocal delivery of…
In just five years, Guatemalan cellist Mabe Fratti has become one of experimental music’s biggest names. In addition to her spellbinding solo releases, she is an eager collaborator, working with the likes of Efterklang, the improv quartet Amor Muere – which she co-founded in her adopted home of Mexico City – and with her romantic partner, guitarist Hector Tosta, as Titanic. On the latter’s superb 2023 debut, Vidrio, they pioneered a genre-agnosticism that veered from squealing free-jazz saxophone to hammering drum grooves and aggressively processed cello, always anchored in Fratti’s soaring falsetto. It heralded the arrival of a group who embraced experimentation as much as earwormy melodies.
On Hagen, the duo double down on their…
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…the legendary singer-songwriter’s Archives series continues with its first themed compilation, appropriately entitled Joni’s Jazz. These 61 selections draw from nearly every core album in the Mitchell discography with just a couple of exceptions (Clouds, Ladies of the Canyon) and reflect the breadth of the artist’s immersion into the jazz idiom in all its many varied forms.
Last year, in her liner notes to Archives Volume 4 (1976-1980), Mitchell teased, “People ask me my favorite of my albums, it’s going to be Joni’s Jazz.” It’s not difficult to see why; many of her greatest songs and performances can be found among these 61 tracks. What’s clear, too, is that Mitchell is keen to disrupt conventional notions of…
Nueva Timba is the sophomore Blue Note release by pianist and composer Harold López-Nussa. The first, 2023’s Timba a la Americana, marked not only his label debut, but his first recording since leaving Cuba for France in 2021. López-Nussa has been at the forefront of recontextualizing and innovating Latin jazz in the 21st century without once sacrificing tradition.
He uses most of the same band from the earlier album: harmonicist Gregoire Maret, bassist Luques Curtis, and drummer/percussionist brother Ruy Adrian López-Nussa. Their focus offers an irresistible meld of Cuban timba, post-bop, and Spanish classical music. It was recorded live in performance at studio Le Duc des Lombards in Paris. The tapes were then extensively…
Chip Wickham has been a mainstay on London’s music scene since the late 1990s when he served as a producer and engineer to many influential EDM creators, but jazz has always been his passion. A world citizen, he lives between the U.K., Spain, and Qatar. Earlier in 2025 he was a co-billed, featured soloist with Neil Innes’ Lewis Express on the album Doo-Ha! and returns with The Eternal Now, his fifth long-player (he also issued the wonderful Love & Life EP in 2024) and his third release for Matthew Halsall’s Gondwana label. It’s lovingly titled after Don Cherry’s 1974 classic. Halsall, whose ties to Wickham date back to 2007, acts as co-producer alongside the leader. Most of the Love & Life band re-appears here: double bassist Simon “Sneaky” Houghton, drummer…
Shrunken Elvis are Spencer Cullum, Rich Ruth, and Sean Thompson, a trio of Nashville musicians who boast some mainstream credits but live more comfortably on the city’s experimental fringe. The music they make together is modern and impressionistic, taking elements from jazz fusion, ambient, post-rock, and even hints of country, which are then filtered and freshened through their combined instincts.
What comes out is a sort of cosmopolitan future jazz, a sleek soundtrack for road-tripping the astral plane. Guitars of every texture weave in and out of the digital froth, joining together in harmony, then sprinting out on their own for a while. The playing is tasteful, occasionally scintillating, but unified by a common aesthetic that nods…
Fueled in part by the visual aesthetics of ’80s and ’90s Sports Illustrated, Leon Michels could have taken the ball and really run with it for 24 Hr Sports. Instead, the title is only a little more indicative of its contents than that of Yeti Season, El Michels Affair‘s non-conceptual preceding album as lone headliner. There’s a marching band intro, two interstitial themes, a song with soccer-referencing lyrics (in Portuguese), and another features a chorus (however blurred) declaring “We want the gold!” In other words, nothing approaches Jock Jams territory or even remotely resembles Chuck Mangione’s “Give It All You Got.” Athletically-uninclined listeners needn’t worry about being bombarded with sports stuff. 24 Hr Sports is largely standard EMA, reconstituting…
A dry mouth, sore muscles and a pounding headache led Liv Andrea Hauge to write the music on this short but deep-reaching record. The Norwegian pianist was tucked up in bed, sweating and shivering with high fever. Through the murky fug of ill health, she identified a series of rhythmic and melodic shapes that now form the third release by her thoughtful, efficient trio.
…The record explores the feeling of being “døgnvill” – a Norwegian term describing the sensation of being out of sync with time and reality, like during jet lag or insomnia. The music inhabits this liminal space between structure and freedom, consciousness and dream.
Half of the compositions were written while pianist and composer Liv Andrea Hauge was…
By the time they released 2025’s Moments, listeners knew what to expect from Cut Copy.
The band deliver plus-sized dance rock meant to fill large venues, leavened with uplifting melodies, shiny synths, and Dan Whitford’s earnest vocals. There might be some techno influences, some ambient atmospheres, a house beat or two, and even some U2-style cinematic outreach, but in the end they sound exactly like Cut Copy and no one else. That’s a comforting thing for fans who are happy with the direction the band has taken, and once again they are undoubtedly in full control of their sound and know how to tweak it a little to keep things fresh. Here they add trap beats on the title track, 808 squiggles on “More Alive,” and a children’s choir on…
Curtis Harding is one of the few artists in the retro-soul community who seemingly has no interest in nostalgia. He doesn’t evoke the sounds of Black music of the 1960s and ’70s because it makes him cool, but because it’s his lingua franca, and he never sounds like he’s lifting from a particular artist or producer, but conjuring a sound that recalls the past while writing firmly in the present tense. Harding is also an artist eager to grow and innovate even as he evokes past styles, and after making three outstanding and distinctive albums – 2014’s Soul Power, 2017’s Face Your Fear, and 2021’s If Words Were Flowers – he’s taken a bold step forward on 2025’s Departures and Arrivals: Adventures of Captain Curt. The guiding concept here is Harding is…
For their fourth Pickle Darling album, New Zealand indie pop songwriter and recording tinkerer Lukas Mayo took an even more deconstructive approach than usual to their process. Their extensive stash of digital files containing things like voice memos, drum loops, and sampled guitar notes that had been chopped up, stretched out, and reversed for the album even caused Mayo’s laptop to peter out and refuse to open files.
Working with what they could recover seemed fitting for Bots, because the songs were about conflict, collapse, and things breaking down in general. The resulting effect is not as heavy-handed as this may sound, as, rather than sounding overtly chopped and screwed, it arrives at something much closer to a whimsical…
What if the trip to Everest were not about the summit? Two springs ago, composer Patrik Berg Almkvisth journeyed through Nepal to the famed mountain, stopping at base camp. The journey was not what he expected; it began with a local funeral and ended with the sight of the sun rising over Everest. In the middle arrive intervals of wonder and joy, but also anger and disappointment. Despite the efforts of locals over time, trash litters the vast trail, a travesty transformed into sculpture by Leslie Leong, shown on the cover. Bodies remain unrecovered. Once-proud glaciers have receded. Might there still be room for revelation?
The album begins with field recordings of Kathmandu, the cheer and chimes of local streets melting into contemplative strings and…
Gwenifer Raymond explores shadowy, nocturnal guitar tones in this third album, following primitive licks into sci-fi futurism. Her songs alternate between folk-blues rambles and psychedelic raga. In either mode, she sounds more like Jack Rose than anyone else working now — and that’s a very good thing.
The Welsh guitarist hammers at her instrument, unleashing a percussive rain of notes that fray and change as they linger. She plays fast and hard and with assurance, whether in the blue-grassy “Cattywomp” or the mystic drone of “Jack Parsons Blues.” And then, just for the beauty of it, she dips into languid lyricism for “Dreams of Rhiannon’s Birds,” letting the notes drip like warm honey, catching the light as they go.
Two forces may be converging here. For years, Jerry Joseph & the Jackmorons fans have missed recorded versions of their favorite songs at live shows. Although in the liners, Joseph pointedly comments, “…we will never know…most people hate the studio versions of their favorite live songs.” Secondly, Joseph wants to maintain the momentum he garnered from his two successful solo albums, 2020’s Patterson Hood-produced Beautiful Madness, and 2023’s Eric Ambel-produced The Man Who Would Be King. Panther Tracks Vol 1 is the first Jackmorons album since 2018’s Full Metal Burqa. It includes five fan favorites from the band’s live set list, a scorching rendition of Leonard Cohen’s “You Want It Darker,” and a new track, “New Lincoln,” for an economical…
There’s a clever brilliance to the title and cover art of Brian Dunne’s latest record, Clams Casino.
The scene is simple yet striking: Dunne sits alone at a table in an Italian restaurant, framed by walls of celebrity portraits, with a comically oversized bowl of spaghetti stacked high before him.
He meets the camera with a deadpan stare, an image that teases a tongue-in-cheek humor running through the album. It’s a fitting choice, since Dunne’s sharp, witty songwriting easily holds its own alongside masters like John Prine, Todd Snider, and Hayes Carll.
But the sentiment also belies the other side of Dunne’s music; songs here that tackle disappointment, rejection, self-doubt, and isolation. It’s that duality of Dunne’s work…
…Newly remastered by Grammy winning engineer Michael Graves.
Nearly a quarter century after bursting onto the scene in 1969 with their self-titled debut album, NRBQ delivered another patented mix of carefree musicianship and joyful spontaneity with 1992’s live Honest Dollar.
Honest Dollar gave listeners a special treat (and we’re not talking about the signed one-dollar bills the band inserted randomly into the copies of the original CD). Not only are there NRBQ classics like “Ridin’ in My Car” and “Wacky Tobacky,” but two “State” songs — “Deep in the Heart of Texas” and Carl Perkins’ “Tennessee” (with new lyrics by Terry, added with Perkins’ consent.) And how about two distinct versions of…
It’s been more than a decade since Jason Molina died at the age of 39, leaving behind a powerful legacy of stark, emotionally resonant music that made much of an earnest voice, a heart-torn story and the barest accoutrements of alt.country-into-blues-rock sound. First as Songs:Ohia and later as Magnolia Electric Company, Molina made a series of slow-burning, desolate classics, including the landmark Didn’t It Rain from 2002.
Lucas Schleicher reviewed the 2014 reissue of this disc very movingly at Dusted, writing, “The rest depends on Molina’s commanding voice and his lyrics, which swim in an ambiguous play of shadow and light. The spaces between the notes and the black quiet that laps against each strummed chord play as large a role in setting…
