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Kai Crowe-Getty used to rock out when he fronted the band Lord Nelson, but he’s more introspective on his solo debut album, The Wreckage. Oh, he still rocks out, just not as much, and he is far removed from being a sensitive singer-songwriter.
His music more closely resembles that of Neil Young’s country rock period of the mid-1970s or Tom Petty‘s solo work during the 1990s. Think American Stars ‘n’ Bars and Wildflowers as sonic touchstones.
The Wreckage doesn’t copy the tropes of these artists as much as share their use of an electric guitar and confessional lyrics to express personal pain without melodrama or grandiose statements. Life is hard. The open road goes nowhere. Love fades. So it goes, but it’s not all bad.

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“I suppose this could be considered my protest album” is how Bedford artist Luke Tuchscherer describes Living Through History on the blurb on the back of the LP. Certainly, from the first lines of the opening title track: “Sirens scream through the city / People under siege / Are we fighting an enemy / Too big to defeat?”
Through to the album’s signing off with a recording of a 1919 speech by Lenin denouncing workers’ oppression at the hands of the capitalists, there’s no doubt that impassioned dissent is a major motor on this album.
Tuchscherer mainly rails against social and economic injustice and exploitation, but also political hypocrisy and (sadly, in much more modern times than Lenin) the ongoing rise of…

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Detroit-based duo Mission to the Sun is a collaboration between Christopher Samuels of Ritual Howls and Kirill Slavin, founder of the Detroit Industrial label/event series as well as a veteran of industrial/breakcore acts such as Fluxion A/D and DeLIEN. Their music together is a bleak, brooding fusion of darkwave and post-industrial, with Samuels’ haunting soundscapes forming the backdrop for Slavin’s dystopian poetry. His deep, stark vocals combined with mystical electronics bring to mind an imagined collaboration between Joy Division’s Ian Curtis and Coil. Seven Years is their third album together, and it largely continues in the same direction as the first two, although this one seems a little less noisy and abstract than 2023’s Sophia Oscillations.

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As the popular understanding of psychedelia has expanded beyond the strictures of traditional blues and folk-based guitar rock, so have the ranks of bands who could be categorized as psych without everyone assuming they wear jean jackets and smell like beer. One such band is IE (pronounced “eee”), from Minneapolis, who have evolved over the years from making drawn-out droney soundscapes meant to mesmerize to, well, something of a pop group.
Throughout the record, the Midwest band draws from the nexus where mesmeric motorik meets the hypnotic, looping melodies of Minimalism, laid over the the droning chug and thump of proto-punks like the VU, and some elegant passages that mix prog rock and the most epic styles…

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Sean Nicholas Savage has worn many costumes throughout his career. The Montreal-based vocalist, songwriter, and producer made albums of nicely tailored indie smoothness that took cues from ’80s R&B and soft rock radio hits before eventually moving his focus to penning and putting on multiple presentations of musical theater in the early 2020s. His solo output has reflected this refinement, with 2020’s Life Is Crazy and 2022’s Mac Demarco-produced Shine both choosing gentler, sophisticated arrangements that forewent drums in favor of either aching arrangements of piano and strings or stripped-down songs led by acoustic guitar. With The Knowing, Savage continues down the path he’s been on for the last few albums before it, but occasionally…

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In the late 1970s and early 1980s, Champaign/Urbana, IL, gained some notoriety as a college town with a surprisingly great independent music scene (along the lines of Athens, GA) — one of the bands that pioneered and set the tone for the town’s scene in the ’80s was the Vertebrats, whose occasionally wonderful post-punk tunes gained enough recognition for the Replacements to cover one of them.
A Thousand Day Dream, released through the C/U label Parasol, collects a great deal of the band’s recordings, some of which is semi-brilliant and some of which is not — the band takes its Clash, Rockpile, Creedence Clearwater Revival, Ramones, and Neil Young influences into the sort of American post-punk territory (Replacements,…

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Some bands change intentionally, while others have change thrust upon them. Over the course of the past ten years, this Belgian band first changed its sound subtly, then dramatically. Witness the evolution of Endless Dive.
The story begins with the self-titled 2015 EP, a pure post-rock affair whose cover – an image of a diving whale – is a perfect match to the band’s name. 2015 was a good year for post-rock, with Constellation dominating our year-end charts. The new quartet embraced the template of loud-quiet-loud, with a noticeable use of stereo effects. At only 24 minutes long, it made a solid impression, anchored by the ever-building “Atoms” (more accurately “89mmHg / Atoms,” as the tracks blend together) and the 8:31…

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For Hampus Lindwall, the pipe organ is a playground. The organist and composer makes music that explores its textures and resonances, using it as both a vehicle for powerful chords and delicate rhythmic lattices.
On Brace for Impact, he presents five pieces that highlight his experimental approach to the instrument, foregrounding off-kilter rhythms and tumultuous melodies. His music is eerie and light, ancient and futuristic, in equal measure. By experimenting primarily with the textural aspects of the organ, he showcases the instrument’s remarkable flexibility.
Though the organ’s origins trace back centuries, it’s a main player in the current contemporary classical and experimental music scene.

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When he is not keeping company as a sideman with some of the most innovative musicians of 21st century creative jazz — a list which includes folks like pianist Matt Mitchell, saxophonist Jon Irabagon, guitarist Miles Okazaki and bassist Trevor Dunn — drummer Dan Weiss has steadily been building his own impressive set of recordings as a leader. Recently, he has tended to prefer trio configurations, such as those on his own Cygnus label: 2022’s Dedication (with bassist Thomas Morgan and pianist Jacob Sacks) and 2024’s Even Odds (with Mitchell and saxophonist Miguel Zenon). However, for Unclassified Affections, Weiss’ fifth release for Pi Recordings, he has decided to go with a quartet format. Joined by Okazaki, vibraphonist Patricia Brennan and trumpeter…

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Rooted in Levantine Arabic music and fueled by genre-bending experimentation, Kazdoura’s debut album Ghoyoum is a vibrant fusion of Arabic Maqams, groovy rhythms, psychedelia, and soulful jazz saxophone.
Born from resilience and cultural connection, the project unites a Syrian singer (Leen Hamo) who was forced to leave her homeland due to war and a Lebanese multi-instrumentalist (John Abou Chacra). Their paths crossed at a Toronto fundraiser following the 2020 Beirut explosion — a moment that sparked a powerful musical synergy.
…Most of the songs are originals with strong, punchy rhythms and Eastern/electronic sounds. ‘Khayal’ combines a sitar-like riff with an affecting, delicate vocal. Based on a traditional…

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It’s been two years since Paris-based Sababa 5’s previous full-length Aspan, and almost exactly a year since the release of their collaborative EP with Japanese vocalist Yurika Hanashima. And on Nadir, their compositions have a more mature — dare we say sexier — air. It’s possible that the band’s relocation to France has contributed to a slightly more sophisticated version of their sound, which finds its co-ordinates somewhere between Middle Eastern rock, psychedelic funk, and Americana — maybe even some subtle moments of reggae if you lean into the upstrokes, as they do on the gently-meandering “Atom.” To put it another way: If 2022’s self-titled album was a buoyant, jaunty teenager, then Nadir is the streetwise, stud-ish twenty-something with a cigarette…

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Dorididae, a taxonomy term for the sea slug family commonly referred to as a “sea lemon,” feeds on sponges. Sea Lemon, Seattle-based musician Natalie Lew’s dream pop project by the same name feeds on something too: ‘80s, ‘90s, and even early ‘00s music acts. She regurgitates them into intriguing and bittersweet nostalgic tunes.
For the most part, the experiments on her 12-track debut album, Diving for a Prize, are enjoyable, but they aren’t special. At best, they’re a decent trip down music memory lane, fodder for time-consuming games on lengthy road trips where you try to figure out which band each track resembles the most.
Lew’s best song construction comes on the second track, “Stay,” an obvious standout on…

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This is a release best listened to at night. In the solitude of your home or driving around late after dark, alt-country band Freight’s sophomore album provides powerful introspection.
If 2022’s Hard Worker was the Mars rover sent to explore the band’s talent, it reported back with proof of life. Old Bones is a crewed spaceship, an expedition of all things intrinsically human: loneliness, heartbreak, and the urge to stare at the sky for something bigger.
“Is it any wonder such a shallow grave cannot contain? Old bones are restless”, frontman JP Payton sings in the title track. In the Cosmic American tradition of looking beyond the grave and past the atmosphere, Freight have mastered an art form of transcendental country.

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The easiest way of approaching the Gigspanner Big Band is as a kind of supergroup, and broadly speaking, it’s a true assessment. Not only are they made up of an eye-wateringly talented array of musicians, but they also exist within the grand old lineage of British folk-rock: bandleader Peter Knight was a fixture of Steeleye Span’s classic 1970s lineup and has collaborated with countless other luminaries of the scene. Assembling the Big Band must have been like taking a cross-section of the best and most gifted folk musicians of a generation. John Spiers – founder-member of Bellowhead, one of the most popular folk acts in the history of the genre – brings his unmistakable melodeon sound to the table. Long-time Knight collaborators Sacha Trochet and…

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The pride of Monkey’s Eyebrow, Kentucky, and a certified Kentucky Colonel, you don’t get much more Kentucky or much more country than Kelsey Waldon, down to the Bill Monroe tilt of her hat. Uncompromising as she is genuine, Waldon has always leaned into her Kentucky roots, and made music her way. But it’s never been more her way than on her new album Every Ghost that she produced herself.
Kelsey Waldon has also never been more Outlaw in tone and texture. From grooving in half time, to the pounding bass drum and 2-tone bass guitar lines, this album puts you right back in the bell bottom ’70s in the best of ways. Instead of recording with studio musicians, she chose to go with her own touring backing band,…

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Joe Harvey-Whyte is one of the UK’s most in demand pedal steel guitar players, known for his session work with artists as diverse as Alabama 3 and Billy Bragg as well as his wildly experimental soundtrack/installation compositions. Joe first met Bobby Lee in 2017 when Bobby was moonlighting in GospelbeacH on their first UK tour and Joe’s previous band, The Hanging Stars, were supporting. Staying in touch ever since, in 2023, the pair brought together the Cosmic Country Revue, also featuring fellow drum machine/twang addict Jeffrey Silverstein for two sold out UK tours. It was during this first instalment of the CCR that the idea of this collaboration first came together.
The UK pair bonded over their broad-church approach to cosmic country and, individually,…

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Alan Lamb, who passed away earlier this year, was a giant in the field of environmental sound.
His landmark work was based on a literal landmark: the Faraway Wind Organ, a half-mile stretch of abandoned telephone poles that he purchased from the Australian government for $10.
Throughout the 1980s, Lamb recorded the wind activating the six wires strung across this length.
The results are shockingly dramatic. Waves of sound build and crash as the wind rises, sci-fi laser sounds ping and zip as insects collide with the wires, and in the background, distant calls of Australian wildlife evoke the vastness of the landscape.
Room40 has recently begun reissuing Lamb’s work and Archival Recordings is a welcome…

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The recently minted Black Hole imprint from Rocket Recordings is a space for those willing to take the darker, less travelled path. For their fourth instalment, they’ve invited Cork’s Phil Langero to bravely cross the event horizon.
If you’re familiar with Langero’s Moundabout project with Gnod’s Paddy Shine, you’ll know the rough wheelhouse this exists within. Practical Dancing (for the Modern Man), however, strays even further from the path, continuing up a hill to a handmade wooden shed stood braced against the howling wind. It’s here that Langero concocted his gyrating instruction manual.
There’s a tangible, handmade creativity to these sounds, suggestive of knuckles smeared with oil. The final track ‘Horse Before Cart’ fulfils…

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