Twenty-five years is an awful long time in electronic music – but that’s how long Simon Green, aka Bonobo, has been applying his beat making craft. Working from the early days with Tru Thoughts, where he established himself as an original producer capable of incorporating different styles and cultures into his work, Green has extended the spirit of collaboration to instrumentalists and vocalists alike.
On his watch the careers of singers such as Andreya Triana have been enabled to flourish, with Green’s talent of writing for the singer as much as the song a key feature of his work. With his live following now at a feverish peak, where do we find Bonobo’s music a quarter of a century on?
The answer from Distance in Static is that his…
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Rattlin’ Bones marks Bronwyn Keith-Hynes’ first foray into songwriting. For those unfamiliar with her name, here’s a brief résumé of the story so far. Raised near Charlottesville, Virginia, at the foot of the Blue Ridge Mountains, Keith-Hynes was barely done with toddling when she started fiddling, cutting her teeth on Irish traditional music and getting into bluegrass as a teenager. After honing her skills at Berklee College of Music in Boston, Massachusetts, she was one of the founders of the progressive string band Mile Twelve, three of whose five members were alumni of that highly revered institution; they won the International Bluegrass Music Association (IBMA) New Artist of the Year Award in 2020. Next on the Keith-Hynes CV came her debut solo album,…
Ten years ago, on Do Easy – an album made with her twin sister as Tasseomancy – Sari Lightman sang of wanting to “reinvent” herself, to “fade into folk songs”. Her solo debut isn’t a reinvention, not exactly, but it draws much more closely from that “old music”, blurring autobiography and fragments of real and imagined other lives into a set of hushed, intimate songs.
The Way I Saw You emerges from a time of transition for Lightman, amid new community and a quieter way of life with her partner and toddler on the edges of Los Angeles. In her native Toronto, she and sister Romy developed a cosmic, experimental folk sound across 20 years of shared projects: Ghost Bees, Tasseomancy, The Lightman Sisters. Their most recent release,…
…La-La Land’s latest CD expansion of scores from the long-running film series based on Ian Fleming’s British agent 007 comes not from the ’60s or ’70s, but the last decade. LLL has remastered their first Bond score from the Daniel Craig era in 2015’s Spectre, available as a 2CD edition featuring a generously expanded edition of Thomas Newman’s score for the picture along with some album edits and alternate material. For Craig’s fourth time in the tux, the series continued the surprisingly serial direction it had taken since 2006’s reboot Casino Royale. After the loss of M (Judi Dench) in 2012’s Skyfall, Bond once again confronts dark aspects of his past when he discovers that previous adversaries had all been agents of a larger organization of villainy, run by…
Mekong Shellac is an extremely rare collection of classical and popular styles of Khmer music from the 1930s to the 1950s. Restored from the few original remaining copies, this compilation reveals a remarkable world of early 20th-century Cambodian folk music previously lost in time through war, cultural shifts, and modernization. These recordings were selected for their distinctive musical qualities, the physical condition of the 78 rpm records from which they were sourced, and the circumstances of their survival.
The selections span a range of Khmer musical forms, including Chapey, Romvong, Lakon Basak, Pleng Khmer, Ayai, and Ayai Reung, as well as classical and court-derived traditions such as Pinpeat and Mahori, alongside popular…
…10th anniversary deluxe remaster features the original 9 tracks (remastered) along with 5 previously unreleased bonus tracks.
Devil Is Fine serves as Manuel Gagneux’s debut release through this one-man project, as he smashes extreme music against African American spirituals alongside a lullaby-inducing electro triptych.
Black metal is perverted through Come On Down’s tremolo-picked fury and shrieking, but then it’s into gorgeous blues croons, classic metal riffing, and back to Satan squeezing Manuel’s knackersack. Whether the genres run in tandem or successively, the blend’s never jarring. Children’s Summon is basically In Flames at their melodeath best channelling Rotting Christ.
Some Velvet Sidewalk was first active between 1987 and 1997 as a band in Olympia, Washington, that worked with K Records. Because of this, they were sometimes wrongly associated with the twee sounds of some of the K roster, when their albums were in fact louder, more unruly, and more experimental, while still being connected to the openhearted excitement and embrace of possibility that was emblematic of so many Olympia bands of that era. Critters Encore is the first new album from Some Velvet Sidewalk in 29 years, and it conveys the same energetic and oddly angled take on rock & roll as when the band last left off. Created by founding member Al Larsen on guitar and vocals, longstanding drummer Don Blair, and a rotating cast of different bass players,…
There is something pointed about calling your record It Is Clear What’s Going On in 2026 and then responding with lyrics that show no interest in meeting the listener halfway. Debt Rag are not being glib. Or rather, they are, and that’s precisely the point.
Glasnost, the late Soviet-era principle of saying the thing plainly because the pretence had become untenable, is a useful way in. When the word entered circulation, the world felt as though it was shifting beneath everyone’s feet while nobody could quite explain why. Debt Rag’s own statement is so steeped in deliberate irreverence that absurdism starts to resemble the only rigorous critical position left. Brainrot doesn’t register as a symptom here so much as a methodology.
CFCF‘s discography is a sort of nostalgia loop time-warp, delving into the sounds of the past from a present-day lens. During the 2010s, he frequently mined new age, soft rock, and smooth jazz for inspiration. With Liquid Colours, he revisited the moment when “electronica” was poised to take over the world, particularly drum’n’bass, and the ambitious Memoryland was a collision of all things ’90s and Y2K, from grungy alternative rock to French filter house.
With L.U.V., the now Los Angeles-based artist moves on to the type of electropop that regularly soundtracked hipster dance parties during the 2000s. For an artist who initially became buzzed-about for remixes of acts like Crystal Castles and HEALTH, the album comes close…
Ka Baird is known for passionate, unpredictable vocal performances. Whether solo or in collaboration with others, Baird’s kinetics tend to be the focus. Their latest release, Thinking Music (For Just Intonation Rhodes Piano), sounds like quite the departure, and indeed it is.
No vocals here, no collaboration, no exploration of a physical space. (Though the piece was written for live performance.) It’s a 40-minute piece, in four movements, for solo Fender Rhodes. The twist is that the Rhodes is retuned in just intonation. This isn’t your Herbie Hancock-loving grandfather’s Rhodes.
A just-tuned Rhodes is a pile of contradictions, and Baird’s exploration of them is what makes this album compelling. Individual tones…
Šimanský Vaľko Podracký pick up where Spacemen 3 left off. The Czech-Slovak trio of experimental musicians apparently share Pete Kember and Jason Pierce’s guiding principle of “taking drugs to make music to take drugs to”. The group’s psychedelia was inherited from the freewheeling 1960s, a decade when Western music – from rock to minimalism – was infused with the meditative transcendence of sustained tones. But the most important question is left unanswered: what drugs to take to make drone music to take drugs to? The album’s title may offer some cues.
Born of spontaneous free improvisation sessions, K-drone is the joint journey of three psychonauts: experimental guitarist Jakub Šimanský, hurdy-gurdy player Michal Vaľko and…
Completely unpretentious, approachable and free of affectation – yet possessing the glamour of a diva in the very best sense: in the 20 years since her ACT debut, Meet Me Around Midnight, Swedish singer, pianist and songwriter Ida Sand has become one of European soul-jazz’s most loved artists, without ever making a fuss about herself and always keeping the focus firmly on the music. Whether entirely on her own with just voice and piano, or on the biggest stages alongside Nils Landgren or the SWR Big Band, it is Ida Sand’s warmth and authenticity that touch her audiences. And, of course, her smoky, sonorous voice, recognisable from the very first note.
These same qualities – her authenticity and soulfulness – are also what make the music…
This is raw, unfiltered ceremonial gong ensemble music recorded on location by Laurent Jeanneau in Ratanakiri, Cambodia’s northeastern province, bordering Laos and Vietnam. Along with Mondolkiri to the south, it was once home to many of the country’s ethnic minority communities. During the colonial period, the French failed to establish full control over the region. After independence, the Khmer state also struggled to govern it, while Khmer Rouge rebels hid in its forests in the 1960s amid the wider conflict between communist Vietnam and the United States. The Khmer Rouge takeover in 1975 and the subsequent Vietnamese occupation, which lasted until 1991, could have devastated the traditions of northeastern Cambodia’s ethnic minorities.
Four years have passed since we last heard from Nick Mitchell Maiato, at which time One Eleven Heavy, his sometime band with James Toth of Wooden Wand, had just released their third album, Poolside. Now, after some serious woodshedding, he returns with what is his sophomore album, Naquera, named after the Spanish pueblo in which he resides, that continues to mine the same musical seam, pulling country roots together with funky horns, jazzy guitar lines and deep grooves to create a modern take on the cosmic psychedelia so popular in the late ’60s and early ’70s.
Mitchell Maiato’s previous work has, unsurprisingly, drawn comparisons to the Grateful Dead, and one immediately recognises those influences. However, bands such as Royal Trux…
The deluxe edition expands on the original February 2026 release with added bonus tracks like “Heartbeat,” “Hunter,” “Skýjaborg,” and “Infinity”.
On Julia, his fifth studio album, acclaimed Icelandic folktronica musician Ásgeir steps outside of his comfort zone and eschews his father’s voice. The poetry of Einar Georg Einarsson and Júlíus Aðalsteinn Róbertsson, a friend, had provided the lyrics — sometimes via translators — of Ásgeir’s previous compositions. Now, at 33, he’s standing on his own.
It’s evident from tracks such as “Quiet Life” that Ásgeir can be a capable lyricist. “Stare into the water/ See myself swimming in the sky/ Every part of me comes to light,” it begins. It’s a song that could be about a romantic partner or…
Atlanta’s Ultra Lights are a nostalgia act, if only because they make scuzzy millennial garage rock in the year 2026, when not even the Strokes seem very much interested in sounding like the Strokes. This shit is classic rock now: Is This It is 25 years old, Brooklyn is no longer the hipster center of the universe, and those Converses you used to wear now need insoles. Atlanta may not be an obvious hub for upcoming indie rock acts, but on their debut, Pleasure’s All Yours, Ultra Lights are doing their damn best to make Atlanta sound like early-2000s New York City in a way that would make John Rocker’s head explode.
A quarter of a century later, the zeitgeist has so far been reluctant to revive that early aughts indie rock sound. Ultra Lights arrive with…
Pop historian Jon Savage knows his way not only around compelling books, but also around coherent compilations of the most varied sonic contexts. Now he excavates, once again, the musical spirit of an era that produced legendary things: Savage illuminates San Francisco’s subculture of the late 1960s and early 1970s, beyond the clichés of flower power. The picture Savage draws sounds scruffier, grainier, above all more faceted and more branched than the polished historiography would suggest.
‘Alabama Bound’, originally a folk traditional, was interpreted around 1966 by The Charlatans – meaning the psychedelic rock band that also bore this name – in a rather dragging, almost trance-like manner. Even so, the song’s country…
When these guys strip down to the basics, they don’t joke around. Ondanaconda is a quartet of Geneva-based musicians with connections that extend into nearly every conceivable genre, certainly into every corner of the city’s experimental scene. They include a clarinetist, a vocalist, a multi-instrumentalist, and a composer for electronics. Yet here, on the self-titled Ondanaconda album, they play four jaw harps.
Sure, yes, there is some electronic manipulation in the mix. But less than you’d expect. Most of the time, they twang away, letting the harps harmonize and the overtones sing. The band name seems to mean something like “wave-snake” (“wave” from the French onde), which pretty much sums it up. The sound waves are undisguised,…
