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Calendar Year, the new album from Chicago-based psychedelic folk songwriter and musician Jessica Risker, evokes a timeless, dreamy vibe that sounds like it could have come from this year or maybe even 1972.
The songs are impeccable, but the arrangements have an indefinable quality that is both comforting and mysterious. Coming off a seven-year hiatus from her debut album (I See You Among the Stars, which followed her stint from 2011 to 2018 when she made albums under the moniker Deadbeat), Risker released the new album from songs she wrote in 2020. However, she hesitates to call it a “pandemic record”.
“I think of it more as a snapshot of a year in a life,” explains Risker, “With themes of human,…

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Around the time she was finishing up a degree in jazz guitar from the Berklee College of Music, Mei Semones put together a band made up of class- mates and recorded her first EP, Tsukino (2022). It introduced her sophisticated, strings-enhanced take on affectionate indie pop. By the time she made her Bayonet Records debut with her second EP, Kabutomushi, in 2024, she had a regular, collaborative backing band made up of a violist (constant member and strings arranger Noah Leong), violinist, bassist, and drummer, and had strengthened her beguiling sound — specifically, an indie pop injected with an effortless blend of breezy bossa nova, intricate jazz, and mathy indie rock. Another idiosyncrasy of her music is lyrics that go back and forth between English and…

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At first glance, it may have seemed odd when dub-techno legend and Basic Channel co-founder Mark Ernestus first trekked to Senegal to bury himself in the country’s regional sounds. For one thing, the optics were sketchy: Here was a white German musician seeking ways to absorb West African traditions into his own music.
Equally unclear was what an artist steeped in solid-state technology could do with the earthy, unquantized rhythms of mbalax music. The answer was Mark Ernestus’ Ndagga Rhythm Force, an extension of the mbalax group Jeri-Jeri, and a project that showcased the skills of the local players more than it highlighted Ernestus’ specialties as a producer. Their 2016 album Yermande was dubbed-out mbalax heaven,…

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Paul Pèrrim is a guitarist and music educator from Spain (more specifically, the Canary Islands) whose work combines elements of folk and experimental music, featuring fingerpicking on both acoustic and electric instruments and the use of electronics and found sounds.
…Itara, his first full-length studio release under his own name (he has also recorded as Transistor Eye), is a set of ten original compositions that tend toward minimalism but make use of a fairly wide range of techniques and approaches while maintaining a consistent feel.
The pieces are relatively concise, but, over a total running time of just 35 minutes, Pèrrim covers a lot of ground, and each track has a distinct identity. The opener, “Arkusmaliketus,”…

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The frightening ubiquity of artificial intelligence can be enough to concern any artist who possesses even a modicum of creative dignity. However, acclaimed Canadian composer Andrew Staniland offers a refreshing deployment of innovations; one that, in the words of a recent press release, “emphasizes rather than approximates humanity”.
In collaboration with the Memorial ElectroAcoustic Research Lab (MEARL) at Memorial University College in St. John’s, Newfoundland, Staniland has been working for the last several years on the digital instrument JADE, a versatile tool that, according to the press release, “expands upon conventional tactile means of performing music, employing sensors that measure environmental traits such as humidity, temperature…

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In Slavic folklore, the archetypal villain Koschei The Deathless is so-called because his “death” is a physical thing which he hides – usually inside an egg. In certain tales, the egg is stitched inside an animal’s stomach, and then the animal is sent far away, or locked up in a chest on the mythical island of Buyan, which can disappear and reappear with the tide.
The enigmatic Staraya Derevnya have their roots in Ukraine (and the wider former Soviet Union), and despite Gosha Shtasel being the one remaining founding member, their sound remains heavily inspired by Slavic culture. Their lyrics, inspired by the poetry of avant garde artist Arthur Molev, are predominantly in Russian – though some words are also part of made-up languages.

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Some bands sound like a bunch of college kids who thought it would be cool to speedrun the first three years of Arcade Fire, and Racing Mount Pleasant is one of them. Almost none have that as their actual origin story, but Racing Mount Pleasant is one of them. After an auspicious debut single, “Call it Easy,” the Ann Arbor septet truly introduced itself with its next release: a song named “Racing Mount Pleasant” that announced an album, also called Racing Mount Pleasant.
This isn’t just a band with grand ambitions; it’s one that arrives with a mythology. The first melodic line on opener “Your New Place” recurs on the closer, “Your Old Place,” and the 53 minutes in between feature a litany of lyrical callbacks, a multi-part suite of “You” and “You Pt. 2,” and…

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The circumstances and context behind writing or recording some LPs are so enriching, so essential to listening to the music within, that it becomes fairly difficult to keep the two topics separate.
Such is the case big-time with not one, but two new LPs from prolific percussionist, engineer and Quakebasket proprietor Tim Barnes – Noumena and Lost Words.
In 2021, doctors diagnosed Barnes with early-onset Alzheimer’s. He was just 54 at the time.
So, after some percolation, his friend Ken Brown — and, yes, for the record, that’s the Tortoise and Bastro alumnus who formerly went by the name Bundy K. Brown — hatched a project, cobbling together some of Barnes’ disparate strands of collaborators, friends and musical…

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There several interesting features that single out saxophonist Ron Blake’s new recording with what he refers to as his SCRATCH Band.
First, the Puerto Rican-born Blake, best known for his work on tenor saxophone, plays baritone sax on five of the album’s nine numbers, tenor sax on only three, tenor and soprano (separately) on one of his four original compositions, “Appointment.”
Second, the SCRATCH Band is actually a duo with bassist Reuben Rogers on four tracks, a trio with drummer and percussionist John Hadfield sitting in on the others.
The term “SCRATCH band,” Blake writes, refers to “a tradition of folk music performed by storytellers and groove makers in the community [he] grew up with in the Virgin Islands.”

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Conceptions, the second album by pianist Geoffrey Dean‘s able quartet, is a neatly drawn recording whose ten original compositions were written by members of the group: five by Dean, three by trumpeter Justin Copeland, and a pair by drummer Eric Binder.
The concept behind the album was to showcase a diversity of genres within a jazz setting while emphasizing the group’s versatility. As such, it works quite well. Dean is a sure-handed soloist and accompanist, Copeland a creative improviser with a pleasant low-key approach that serves him well on every number, while Binder and bassist Harish Raghavan carry out their rhythmic assignment with calm efficiency.
As for the music, it is on a par with many…

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An old-time fiddler, banjo player, folklorist, author, and researcher based in Durham, North Carolina, Joseph Decosimo is one of — if not the — most dedicated preservationists of old-time folk music. His work as a scholar, and his output as a musician, draws connections between the various musics of southern Appalachia, a sonic ethnography encompassing western North Carolina, eastern Tennessee, and northern Georgia. According to KLOF, Decosimo’s latest album, Fiery Gizzard, began as a recent thought exercise posed by Hiss Golden Messenger’s MC Taylor, yet another peer and collaborator: “What would this Old-time fiddle music sound like if it were given an Albion Country Band / Fairport Convention sort of treatment?” Or, to put it a bit differently:…

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David Byrne once described the thrill of collaboration as the moment when the work becomes something you’d never arrive at alone.
Some partnerships seem destined for that very feeling — a single spark catching light, growing until it’s no longer possible to say where one artist ends and the other begins. Cutting the Stone, the debut record from Safe Mind, glows with that inevitable alchemy.
From the first seconds, it’s clear this is a meeting of the minds that fuses the best of each artist’s instincts. The record is fun and weird in equal measure, as if two hands drew the curtains in a room used to holding shadows. Darkness and light share the same space here: beats grin even when they’re minimal and sharp; melodies…

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…The Hunt for Red October, the 1984 novel that introduced the quick-thinking CIA analyst, was adapted into a film in 1990 that starred Alec Baldwin as Ryan, working to avoid a confrontation between the U.S. Navy and a rogue Soviet submarine captain portrayed by Sean Connery. One of the highest-grossing films of the year, Red October featured a stirring score by Basil Poledouris (Conan the Barbarian, RoboCop), combining orchestra, chorus and electronics in full measure. Though previously generously expanded by Intrada in 2013, that presentation was sourced from backup masters on analog tape. For this 35th anniversary release, access was granted to the original scoring masters for a new mix, which also revealed a further 16 alternate takes…

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…With an expanded running time almost 30 minutes longer than the original 2002 soundtrack release, this deluxe presentation of ‘The Sum of All Fears’ features previously unreleased score cues as well as bonus tracks and songs – all of it remastered by Doug Schwartz.
After two further Jack Ryan films in the ’90s, both starring Harrison Ford, the series was rebooted to feature a younger (but contemporary) version of the character, this time played by Ben Affleck in a loose adaptation of Clancy’s The Sum of All Fears.
This 2002 film was one of the last major action pictures scored by Jerry Goldsmith, who brings his usual dazzling patriotic flair to the proceedings (along with vocal interpretations of his themes on the Yolanda Adams-sung…

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Composer Sven Helbig has stated that the letter A in the title of this work stands for the German words Atem (“breath”) and Anfang (“beginning”), both of which play roles in the text of his Requiem A. Listeners are encouraged to invest in the physical version of his album, where he speaks at greater length about the name; the notes are framed as a conversation between the composer and his 14-year-old daughter, and it was she who suggested the name, pointing to the sense of renewal as well as memory that characterizes the requiem mass. It is a remarkable work.
One could listen to it as an attempt to write something for a durable German choir, here, the Dresdner Kreuzchor, akin to the contemporary music being offered to British choirs.

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…The sixth Bond film was John Barry’s fifth score for the series, but the first (and only) performance by Australian model George Lazenby, making his acting debut as Ian Fleming’s literary secret agent. One of the more emotional stories in the series, OHMSS pitted Bond against the villainous Blofeld (played this time by Telly Savalas) and had 007 enter a star-crossed romance with a mysterious countess (Diana Rigg).
Barry’s score was anchored by a new, riveting instrumental title theme that would become part of the Bond canon, and also featured the stirring “We Have All the Time in the World,” a love theme written with lyricist Hal David that offered one of the last vocal performances by legendary jazz trumpeter Louis Armstrong.

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Disseminating experimental music from the myriad of vibrant scenes across the SWANA region to the wider world has been Ruptured Music’s generous undertaking for over fifteen years. Its creative source keeps giving and its curational insight keeps providing. Enter amongst the label’s significant June releases, the poignantly titled Crashing waves dance to the rhythm set by the broadcast journalist revealing the tragedies of the day, an expansive collaboration between Charbel Haber, Nicolás Jaar and Sary Moussa.
Jaar’s name maybe the most familiar, the Chilean-American electronic musician and polymath behind seminal IDM albums under his own name and the Against All Logic aka, as well as one half of the illusive downtempo duo Darkside.

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Bioscope is a new collaborative project from guitarist Steve Rothery, founding member of Marillion and from electronic visionary Thorsten Quaeschning, musical director of Tangerine Dream (and soundtrack guru).
Their debut album Gentō is named after the Japanese term for “magic lantern”, a still-image projection system. Each of the five instrumental tracks takes its inspiration from man’s endearing fascination with the moving image, weaving together Rothery’s emotive, melodic guitar work with Quaeschning’s expansive soundscapes.
Bioscope describe their debut album as “a mesmerising journey through a cinematic landscape of sounds and textures and each of the five tracks takes its inspiration from men’s…

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