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This is the second album from the Australian-based duo Minor Gold (Australian Dan Parsons and Canadian Tracy McNeil), the pair originally bonding in McNeil’s band, Tracy McNeil & The Good Life, before setting out on their new venture. Their first self-recorded album was well received. For Way to the Sun, the pair travelled to California and recruited drummer Austin Beede and, more importantly, the talents of Dan Horne, who produced the album and played bass and pedal steel. Horne has a fine pedigree, with acts such as Beechwood Sparks, Cass McCombs, and Mapache under his belt, and he lifts the album some degrees higher than on their debut.
The PR blurb mentions “sun-dappled folk rock”, and that’s not too far from the truth.

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Starting with 2017’s Follow the Sun, Total Control’s Mikey Young and Anthology Recordings label head Keith Abrahamsson began compiling obscure tunes from various cultural avenues of the ’70s and ’80s. These compilations moved through different geographies and focal themes, with Follow the Sun centered on unheard Australian psychedelic soft rock, while 2019’s Sad About the Times and its unofficial second volume, 2021’s …Still Sad, compiled bummer songs from U.S. artists that could have been hits if circumstances or the singers’ dispositions were just a little bit different. Maybe I’m Dreaming is the fourth volume in this run of compilations, gathering even more obscure artifacts from low-budget private press releases. The songs here are a little…

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Suite of Rooms is the spellbinding new album by French musician, producer and songwriter Julienne Dessagne, aka Fantastic Twins. Based on the Greek myth of Theseus and the Minotaur, and reworked from her composition for a contemporary dance piece ‘Méandres,’ ‘Suite of Rooms’ is a mesmerizing odyssey of leftfield techno, exquisite kosmische, and vintage soundtrack atmospheres.
…Opener “The Ship of Theseus” has constantly switching tones (maybe alluding to the various replaced parts of the titular ship?) while Dessagne’s witchy chants abruptly switch register to fit the cubist style. Centrepiece “Labyrinths” creates high drama with rolling percussion in a way that you might call Zimmer-ish if Hans Zimmer hadn’t cheapened his own style so badly.

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Corb Lund is a Canadian roots-country singer/songwriter whose third album, Five Dollar Bill (2002), established him as a favorite among critics and Americana music enthusiasts in his home country, the U.S., and in Europe. His idiosyncratic take on the genre is deeply inspired by the Western Canadian frontier and the lives of its cowboys and ranch hands.
…Born in Alberta where he grew up on his family’s farm in the small town of Taber, Lund moved to Edmonton to study music at Grant MacEwan Community College. In 1990 he co-founded the Smalls with a few college friends. Comprising Mike Caldwell (vocals), Dug Bevans (guitar), Terry Johnson (drums), and Lund (bass), the band made its full-length debut in 1990 with…

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In his sixth and latest album New African Orleans, released by ENJA and Yellow Bird, bass guitarist and composer Alune Wade explores the multiple junctions between his native West African rhythms, the Afrobeat and juju rhythms from Lagos and the brass band repertoire immortalized in New Orleans. “I’m exploring a world that goes from my roots to the lost branches on the other side of the Atlantic,” explains the musician from Senegal.
…The 11 numbers, both originals and standards such as Herbie Hancock’s ‘Watermelon Man’, Fela Kuti’s ‘Water No Get Enemy’ (taken at a simmering slower pace), Hendrix’s ‘Voodoo Child’ and Dr. John’s ‘Gris Gris Gumbo Ya Ya’ exploit the talents of guests like New Orleans drummer Herlin Riley, Cuban percussionist Pedrito Martinez…

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In their fourth collaboration on Origin Records, bassist and bandleader Rodney Whitaker and Central Michigan composer Gregg Hill strike gold once again, backed by a formidable gathering of musicians. Hill’s music has experienced a surge in interest due to his prolific releases on Origin, which have featured musicians in and around the impressive jazz faculty roster at Michigan State University, a program with Whitaker at the helm.
Hill’s compositions have a notable sound uniquely tied to both urban Detroit and the Michigan countryside. Sweeping melodies seem to express the structured machinations of daily urban reality, while others feel like wispy clouds hanging over lakefront countryside in the isolation of a Michigan winter. The opening two tracks are…

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Timed to coincide with the centenary of the French composer’s death, Satie Surprises is noteworthy for many things, including the absence from Christina Bjørkøe’s hour-long recital of his ever-popular Gymnopédies and Gnossiennes.
While their inclusion would have been in no way objectionable, it’s refreshing to see the Denmark pianist fashioning a programme featuring pieces less commonly presented. The listener beguiled by the lyrical tenderness of the music might be surprised to discover how eccentric Satie (1866-1925) could be. A multi-faceted portrait emerges from Torben Enghoff’s in-depth liner notes, which, by his own admission, are less about the pieces presented on the recording and more Satie’s life and music.

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Tellingly, the dozen productions on Lemon Borealis, KILN‘s first album for A Strangely Isolated Place, are credited to their creators, Kevin Hayes, Kirk Marrison, and Clark Rehberg III, as not tracks, songs, or compositions but “soundforms.” Such a choice makes sense when each piece is a meticulously constructed sonic entity that wholly engulfs the listener for three minutes before handing off to the next intoxicating creation. Other band’s songs have hooks; for KILN, the entire track is a hook. It’s sound design that’s critical, in other words, with melody, texture, rhythm, and production equally integral to the result.
All of which makes Lemon Borealis a classic headphones listen. To describe the listening experience as panoramic doesn’t do…

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In 2022, Welcome Strawberry released their eponymous debut full-length, which bursts with vibrant, fuzzy dream pop tinged with psychedelia. desperate flower, the sophomore album is ostensibly a concept piece about olfactory memory. It’s also the kind of record that’s so exciting, it makes you want to text all of your friends.
…This Oakland group makes kinda jangly, kinda gazey, very pretty dream pop built around songs rather than just shit tons of atmosphere, though there is plenty of that, too, on lovely latest release desperate flower. A record that balances noise and experimentation with a more eccentric, patchwork style of psychedelia, the overall vibe on desperate flower is a bit more energetic than the usual slowcore-kissed fare from this…

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Good news, everyone: Guitar music is cool again — or at least a reasonably cool coterie of yoofs are making it, which is the same thing as far as middled-aged people who hang out on Substack and read Stereogum are concerned.
Riding in on the train that has (so far) brought us Sharp Pins, Lifeguard, Horsegirl, Feeble Little Horse, recent Carpark signees good flying birds, and the entire Crafted Sounds roster, Golomb from the college football-themed town of Columbus, Ohio follow up 2024’s self-released Love — a mellow and drone-kissed mix of Low and the Velvets jamming in a midwestern garage — with full-length The Beat Goes On on No Quarter Records. In a series of tightly composed and considered indie rock songs, the trio take…

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Before you even hear a note of Redemption, Brody Buster’s first release in six years, it’s obvious this is not your typical blues album.
The disc’s cover comprises 80 small boxes displaying simple, unadorned, single clip-art symbols. Initially, these are seemingly random images. But once you know Buster’s background, it’s clear they have been chosen carefully to tell a story. It’s the tale of recovery and, well, redemption, (from drug addiction) that led to this collection’s creation.
It’s a rare musician, especially in the blues world, that approaches their troubled history in such a straightforward, unvarnished manner. “Don’t you know I was lost, I was strung out on dope/I had a lot of problems and I said I got no way…

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Patricia Wolf‘s second Balmat album is the soundtrack to experimental filmmaker Edward Pack Davee’s feature-length documentary ‘Hrafnamynd’, and mixes field recordings with AFX-esque lullaby themes, tape-mangled instrumental vamps and VHS-burn’d analog pads.
There’s something oddly soothing about ‘Hrafnamynd’, and without seeing the documentary it’s hard to know exactly why. Using film and digital, Davee recounts his childhood in Iceland through the volcanic island’s ravens, exploring the landscape and folklore while scraping his own nostalgia. And Wolf’s score attempts to mimic the surreal fusion of old and new by using her UDO Super 6, a powerful binaural analog-hybrid synth, to bring the past towards the present.

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There’s a recurring sound on “Crude Soil,” at the very start of Amulets’s Not Around But Through, that welcomes the listener in. It’s a grand effect, somewhere between a hum and a squeal: a distant cousin to air-raid sirens, an orchestra warming up, or that big THX whoosh at the start of a summer blockbuster. Its first appearance is right about where a pop music aficionado might expect to find a drop — but in its place, they find a lift: a subtly alarming musical suggestion that what happens next is going to demand your undivided attention.
It’s a tricky sound to put your finger on. Randall Taylor’s process — which relies largely on tape loops, samples, and his own guitar playing — creates such a rich sonic collage that the mystery is often the main attraction.

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For a number of years after the turn of the millennium, you need only say one word to invoke the spirit of Berlin’s thriving, techno-led electronic scene: Berghain.
Founded in the wake of Ostgut’s closing in 2003, Europe’s most famous power plant this side of Chernobyl cultivated a clique of influential DJs and dedicated partiers, as well as a record label and mix series named in honor of the original club, to the point that a German court officially designated the place a cultural institution in 2016.
Like a lot of other venues, however, the pandemic forced a rethink, and the label was temporarily shuttered following the 2021 compilation Fünfzehn + 1. Four years on, Klubnacht 01 attempts to regain some footing amid an evolved…

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For the song that is both the titular track and the spiritual heart of her second album, which will be along soon, there is something suitably subversive about it, and gently so. And that is the power of Mary Strand’s music. Let others scream from the rooftops, argue, get wrapped up in histrionics and rabid, rabble-rousing debate, this is about delivering a message and letting others make of it what they will.
Her style reminds people that living our lives honestly and uniquely, and not being afraid to show who we truly are, changes the world much more decisively than sonic punch-ups and forcing our opinions down other people’s throats. Her ideas and sentiments enter the cultural landscape like a Trojan horse rather than the barbarians…

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Multi-reedist Marty Ehrlich has led several remarkable sax-bass-drums trios since his 1984 debut recording The Welcome, which featured bassist Anthony Cox and drummer Pheeroan AkLaff. His latest effort, Trio Exaltation — featuring longtime collaborators bassist John Hébert and drummer Nasheet Waits — returns seven years after its debut with seriously good stuff. This Time presents six original Ehrlich compositions alongside two interpretations of pieces by the late, great pianist Andrew Hill, with whom Ehrlich collaborated for four or five years. The album is dedicated to Hill’s widow, Joanne Robinson Hill.
Ehrlich’s “Sometimes This Time” opens with sizzling cymbal work that soon extends across the drum kit, underpinned by a round, grooving…

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Born in Istanbul, Turkish ud virtuoso Baha Yetkin has cultivated a busy career as a performer and composer over the course of 25 years, with London eventually becoming his adopted home. Yetkin’s dedication to his instrument has also led to his reputation as an educator, with countless students, popular workshops and a plethora of educational content shared on his social media.
Recorded in single unedited takes, The Makam: Oud presents six taksim improvisations exploring different makam (modes): Hüseyni, Nihavend, Hüzzam, Kürdilihicazkâr, Hicaz and Kürdi. Each performance beautifully extrapolates the character of its respective makam, while also showcasing Yetkin’s flawless phrasing and technical versatility. Yetkin also uses three uds in…

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Freshly remastered as part of Lo Recordings’ long overdue campaign to reissue all the releases on Susumu Yokota‘s Skintone label, Magic Thread is the first in a series of 14 individual albums. And honestly, we’d forgotten exactly how this one sounded. Yokota was a great producer – maybe one of THE greats – but he released a lot and it’s been easy to fixate on the biggies. But listening back now, it’s fair to say that Magic Thread has been overlooked for too long. It’s not as immediately satisfying as ‘Grinning Cat’, but its textures and techniques are just as impressive. Just check the pitch-bent loops on opening track ‘Weave’, or ‘Unravel’ with its layers of crunchy, evocative noise.
And Yokota isn’t completely operating in the ambient zone. On ‘Circular’, he drowns out…

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