Phish release a new digital box set, Phish: Live In Saratoga Springs 2025. The 55-song compilation collects the Vermont quartet’s complete three-night run at Saratoga Springs, NY’s Broadview Stage at Saratoga Performing Arts Center, which takes place at the tail end of the first leg of the band’s 2025 summer tour. Each of the shows, held from July 25–27, 2025, contains some notable moments: Phish’s opening night features a completely seamless second set, the middle night includes teases of N.I.B. by Black Sabbath, Walk This Way by Aerosmith, December, 1963 (Oh, What a Night) by The Four Seasons, and other tunes, while the final night becomes an instant classic, opening with Tweezer Reprise and culminating with the first-ever “Tweezer” encore…
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Carry On the sophomore solo album by the late rocker Chris Cornell has recently been reissued and expanded. The Steve Lillywhite-produced 2007 album finds Cornell shifting the alt-rock sounds he cultivated as frontman for Soundgarden and supergroup Audioslave into a more introspective, darker direction. Highlights include singles “No Such Thing” and “Arms Around Your Love,” a cover of Michael Jackson’s “Billie Jean” (here extended from its original album release) and the film mix of Cornell’s hard-driving “You Know My Name,” the terrific theme song to 2006’s Casino Royale, the first James Bond film to star Daniel Craig as the British spy. This digital edition also includes two studio bonus tracks initially available on U.K. and Japanese pressings.
“Walden consists of a series of musical sketches inspired by the 1854 novel of the same name by Henry David Thoreau”, thus reads the short description of this project by Heiner Goebbels. But those familiar with the oeuvre of the German trans-media conceptualist and composer know that with Goebbels it’s never quite that simple. In his 1998 creation Walden, composed for expanded orchestra with speaker, Goebbels incorporates a wide-flung stream of inspirations and approaches, spanning excerpts from Thoreau’s “Walden”, soundscape-design in the spirit of audio plays, arsenals of outlandish instruments and sonic layouts as much at home in the avantgarde as they borrow from popular music, all brought to life with Peter Eötvös conducting and Bob Rutman…
Yusef Lateef was a multi-instrumentalist, writer, professor, and thinker and created a genre of his own called, “autophysiopsychic music.” He led countless bands and made recordings showcasing his study and practice of musics from across the globe. His quartet on this unreleased date from Joe Segal’s Jazz Showcase club included pianist Kenny Barron, bassist Bob Cunningham, and drummer Albert “Tootie” Heath; all were present on several of Lateef’s Atlantic recordings during the 1970s. Lateef, a longtime friend and favorite of Segal’s, played the illustrious Jazz Showcase many times. The recordings on Alight Upon the Lake are drawn from a June 1975 residency at JSwere and produced by Zev Feldman and Michael Velasco for George Klabin’s Resonance label. This set…
The term tropicanibalismo has been circulating within experimental music scenes in Colombia since at least the early ’00s, broadly encompassing new and innovative approaches to coastal popular and folkloric music forms. Cumbión Planetario is Bogotá-based duo Rizomagic’s newest contribution to this tropicanibalismo landscape. Rooted in cumbia (with a particular nod to languid, Monterrey-born cumbia rebajada), perhaps the most emblematic Colombian music and dance genre, the slow-motion music of Cumbión Planetario is distinctly contemporary.
Hints of dub, a deeper camaraderie with music that might be termed IDM, and particular investments in the idea of cosmic tuning serve as important contours. Group members…
The late singer-songwriter revisits his roots on this 2010 set-his first unedited concert recording-from the Chicago venue where he got his start as a young musician.
When John Prine was 14 or 15 his brother Dave took him down to the Old Town School of Folk Music. John’s problem, his brother figured, was a lack of direction. He was interested in gymnastics and art but otherwise just hung around the pool hall. Little by little, Dave was getting him into folk music, teaching him a few chords and playing him Carter Family records. In the early ’60s, the Old Town School was located in a ramshackle storefront on Chicago’s North Avenue, but it had already hosted legends like Pete Seeger, Mahalia Jackson, and Big Bill Broonzy.
Originally released on April 1, 1986, Book of Love introduced a new voice in American electronic pop with enduring classics including “Boy,” “I Touch Roses,” and “You Make Me Feel So Good”.
40 years later, this special anniversary edition has been remastered by its original engineer, Ted Jensen. The album artwork has also been refreshed in collaboration with original art director Nick Egan to honor the anniversary, including a four-page insert featuring outtakes from the iconic photo session with Michael Halsband. Furthermore, in celebration of this milestone release, it features new liner notes by writer and music historian Kurt B. Reighley, who sat down with founding members Susan Ottaviano and Ted Ottaviano to reflect on the album’s creation and its lasting cultural impact.
Wildest Dreams was Turner’s ninth solo album and her first for almost seven years, at the time. It featured the previous year’s Bond theme ‘Goldeneye’, written by Bono and The Edge of U2, as well as collaborations with Pet Shop Boys, Sheryl Crow, Barry White, Sting, and a cover of Massive Attack’s ‘Unfinished Sympathy’.
The super deluxe edition includes the original album remastered, a disc of contemporary B-sides and remixes, the 1996 Wembley Stadium show over two CDs and a Blu-ray featuring a remastered Live In Amsterdam / Wildest Dreams Tour, originally released on VHS and Laserdisc in 1996 and DVD the following year. The booklet features new liner notes from journalist Jason Draper. In the U.K., the album reached #4 and was certified…
After the early-Nineties alt-rock explosion, bands that had made it big in the Eighties largely pulled their hair out trying to fit in. U2 went disco. Guns N’ Roses spent about 25 years chasing Chinese Democracy. And Metallica? Well, they just got weird — and, contrary to popular belief, that wasn’t a bad thing.
Neither of the quartet’s Load albums, released in 1996 and 1997, sound overtly “alt,” since James Hetfield and Kirk Hammett’s riffs owed a greater debt to the blues and Lynyrd Skynyrd than shoegaze or Pixies. But they achieved a simulacrum of “alt,” at least for headbangers, by playing with a looseness that still feels like a rejection of the white-knuckle thrashing that earned them their legend. Hetfield had learned…
Though vaguely considered along the lines of noise, space rock, dream pop and psychedelic, The Telescopes have consistently expanded boundaries, colouring outside the lines with possibility. This house has many rooms, embraced across genres, influential to many, all embracing, in an orbit of its own. Static Charge is The Telescopes’ 19th studio album since the group’s inception in 1988 – and their 7th release on Tapete Records.
After a three-month tour of the UK and Europe, the all embracing sounds of The Telescopes return with a lean blitz of seditionary hits. Take a jolt of Static Charge and step beyond the realm of natural vision. Stone age beats, outsider sounds, low end disturbance unite in resistance to the new weirdness of existence.
Recorded live in April 2025, Vol. 2 – Transmissions West joins Vol. 1 – Transmissions East for a complete record of the two incredible nights spent in Berlin’s Funkhaus.
Don+t Settle is a studio album, yet recorded in front of a live audience. Looking both forward and back, East and West, it’s a retrospective of sorts that showcases some of Glen’s best loved songs and encapsulates the energy Glen is known for as a performer.
“I’ve always been more comfortable on stage than in a studio. I love making records. I love the proces But the song lives before an audience. A song needs witnesses. It’s where I feel like I can really grab hold of it. And know it – the way that it’s meant to be known.
An abundance of tildes occupies our title space as ~Nois returns with What Is ~Nois, the follow-up to Kinds of ~Nois.
The playfulness of the album title translates to the music, while the implied question, “What is noise?” is a challenge to the listener.
What is noise? In music, the answer is subjective. Some listeners call rap, metal and improvised jazz noise, while others embrace these genres.
In like fashion, some feel comfortable with the sounds of a city, while others call it cacophony.
Is ~Nois noise? Even within the boundaries of What Is ~Nois, the variety of tracks may lead to differing opinions.
Even the question “What is ~Nois?” is difficult to answer. On the surface, the ensemble is…
When composing and recording this album, Ayami Suzuki was meditating on the way that loss – specifically, to begin with, the loss of her father – is less an event and more a continuing process that affects but is also shaped by everything else surrounding it. It’s a theme that’s hard to express in words, but as it turns out embodying rather than trying to explain it makes for a deeply moving musical experience, even if the emotions Remnants evokes are no more straightforward than the process of loss itself.
Suzuki’s partly improvised ambient soundscapes, usually incorporating some aspect of the human voice — though not always recognizable as such — and sometimes including some equally abstract folk elements, are always subtle and…
Félicia Atkinson’s sound collages — ever-expanding webs of electronics, field recordings, spoken word, and piano — seem to haunt the spaces they occupy, draping themselves in every corner like an otherworldly presence. With SANS VISAGE, the French composer’s new score for Georges Franju’s 1960 film Les yeux sans visage (Eyes Without a Face), she leans into her music’s ghostliness, using delicate layers of airy electronics to conjure the film’s looming dread and pairing contrasting textures to meditate on the invisible and visible bars that trap us.
The Belgian cultural center Viernulvier approached Atkinson to create the score as part of its Videodroom series; the recorded version pares the full 90-minute score down to…
All-star jazz quintet SML assembled their first two albums from live and studio performances, but both efforts were heavily edited and post-produced. Spontaneous Music Live is the group’s first truly live record, capturing two lengthy, unedited improvisations performed at Zebulon in Los Angeles during the group’s residency in December of 2025. While the endless possibilities of the recording studio are just as crucial to the band’s work as their own musicianship, Spontaneous Music Live shows that their chemistry is naturally strong, and they can produce powerful work without the use of studio trickery.
Right from the start, it seems like the group whips a ferocious groove out of thin air on “The Drums.” The rhythms constantly mutate,…
Clay is the debut full-length collaboration between Matthew Herbert and Momoko Gill. Producer, multi-instrumentalist, and sound architect Herbert is involved with many styles and genres, and many different artists. Gill (aka MettaShiba) is a composer/producer/songwriter and musician; her primary instruments are drum kit and voice. She is best known for her striking work with Alabaster DePlume. The pair collaborated on the single “Fallen” in 2024 that became an underground club anthem. Gill also remixed Herbert’s provocative “The Horse Is Here,” composed and recorded entirely on horse bones.
Clay is a sonically adventurous outing, not unlike Herbert’s Around the House, but traveling in an entirely different musical direction.
“My Ice Queen” immediately makes its case. A mid-to-low tempo chugging rhythm underpins choppy guitar, a contemplative, distant vocal and a general air of disassociation. Brief sections of the song feature – albeit muted – guitar mangling and feedback. The lyrics tell of a “heartbreak machine, coolest girl you’ve ever seen.” Icy? Absolutely. Then take the similarly restrained “Life Goes on,” so hazy a rumination it seems to have materialised from the mists enveloping Venus.
It isn’t all so crepuscular. “Song for John” – seemingly an elegy for John Lennon – has a gentle bossa nova sway. It’s small-combo, guitar-centred pop at its most lean, most understated. Elsewhere, the airy “Even if” is yet another arresting example of the sometimes buoyant but mostly…
There is something subtly captivating about Panacea. It’s an album that’s presence isn’t marked by booming choruses and dramatic highs. Instead, Dutch artist Celine Cairo built its impact through a sense of patience. The more time you spend with it – really listening – the more its subtleties begin to surface. It’s fueled by the kind of connection that lingers long after it ends.
At its heart, Panacea is about learning to sit with uncertainty. Rather than treating healing as an end point, Cairo explores it as something ongoing – shaped by reflection, setbacks and the quiet moments of clarity that arrive when you stop searching for them. It’s an idea that runs through every vein of the record. The beauty is that these themes never feel over-explained;…
If there were prizes for song titles, Benny Bleu would be a Grammy winner. Reflecting his day job as a geologist, in addition to the title-track we also get the likes of ‘March of the Mollusk’ and ‘Fairy Shrimp’. They form a concept album of original songs, fitting covers and meditative instrumentals about a changing planet and how the Anthropocene age – defined by human impact – could end in a mass extinction of our own making. Playing clawhammer banjo augmented by Jake Blount sideman Gus Tritsch on fiddle, guitar and mandolin, and an old-timey, swinging rhythm section, he not only warns of the man-made pressures driving climate change but also suggests we might yet find salvation in living simpler, more grounded lives. Bleu apparently spent ten years…
After almost a decade away from releasing new albums, Tift Merritt returns with a collection of songs that feels both intimate and expansive. What has remained is Merrit’s timeless approach to music: her work feels like it could have been released in any of the last six decades; songs are cleverly crafted with instrumentation used to help frame Merrit’s voice, which remains full of beauty, clarity and power. Thematically, Sugar looks for meaning in the quieter places of life: conversations, acts of care, domestic labour, memory, kindness and the difficulty of remaining open-hearted in a world that often rewards the opposite. Across eleven songs, Merritt repeatedly returns to the idea that what sustains us is rarely what attracts the most attention.