The Suncharms are a band with an interesting history. They date back to 1989, and called it a day in 1993, but not before releasing a couple of EPs. In 2015 they reformed, and since then have released two albums.
…their third album Darkening Sky unfolds as a luminous exploration of reflection and sonic patience, a record that balances emotional immediacy with the quiet assurance of seasoned musicianship. From the opening track, “Midnight Train,” the band establishes a world of expansive indie-pop textures, Matt Neale’s guitar shimmering over a subtle rhythm section, while the trumpet’s late entrance adds a warm, unexpected depth that hints at the album’s willingness to bend conventional forms. The song evokes…
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The songs simply had to come out. Annie Taylor recorded their third album between the band’s U.S. tour and a run of European shows. In keeping with its title, Out of Scale’s songs are characterized by intense emotions, chaotic relationships and big dreams.
At times we can hear singer Gini Jungi’s suffering. All the hurt and struggles. Sometimes her voice floats longingly over Tobias Arn‘s guitar riffs. But when Michael Mutter‘s bass and Daniel Bachmann’s drums kick in, it’s clear that these new songs will get the crowd moving.
The band met in a bar in the Swiss mountains after a snowboarding session. Fast forward a few years and they are now well known for their live shows, having already played SXSW…
On their new duo album, Michael Wollny and Emile Parisien invite listeners into a conversation shaped by trust, intuition and complete artistic freedom. Recorded in concert as part of the Bodenseefestival 2025, the album captures two singular musical voices meeting in a space where nothing is controlled, nothing is predetermined, and every gesture becomes a response to the moment.
“Here, you are invited to witness one of our many conversations with Michael Wollny, in complete freedom and spontaneity. I feel the rare privilege of sharing this space with such an exceptional musician – someone with a profound sense of listening, where everything becomes possible. It is an honor to have met him and to be able to express myself in this way by his side…
Released at a pivotal moment in their career, Tensongs remains one of the most fascinating chapters in the catalog of Hubert Kah. Arriving in 1986, the album marked the band’s full transition into English-language material, an ambitious attempt to carry the success of the Neue Deutsche Welle movement into the broader international synthpop market. Forty years later, Tensongs stands not only as a time capsule of mid-80s electronic pop, but also as an underrated artistic reinvention.
Produced by Michael Cretu and Armand Volker, the album wrapped Hubert Kah’s melancholic songwriting in sleek, atmospheric production that clearly aimed beyond Germany’s borders. The influence of sophisticated…
The tapes started arriving on April 7, VHS cassettes stickered with the Boards of Canada hexagon sun logo, sent from Warp Records to the homes of various people who’d previously purchased something from their Bleep.com retail site. The purposefully degraded footage contained therein featured various mysterious images including a Greek Christogram and a distorted image of US TV evangelists Jim & Tammy Faye Bakker, while the audio featured a reversed snippet of The Elegants’ 1958 doo-wop single ‘Little Star’ (taken from 2019 Boards Of Canada mixtape, Societas x) plus audio from an advert for the Moody Bible Institute’s long-defunct monthly magazine (“all for only $2.95!”) And the promise of a “free hexagonal flexi-disc…six voices and music to guide your…
U.e.’s Other Girl is a singer-songwriter album that strips away a lot of the singing and even more of the songwriting. With the words buried behind layers of interference, the music itself is left to do most of the emotional legwork, and while the palette is the sort traditionally associated with “intimacy” in Western pop music — acoustic guitars, piano chords you can feel in your chest — there’s no readymade narrative to map onto these 10 songs. You can either let this obscure approach bewilder you or treat it as a blank slate on which you can map your own feelings. From this angle, the spaces between the chords can fill with your own thoughts, and the distance between these recordings and your ears can stand in for the distance from whatever you…
Think about music, all the music that is available to hear, all the music that’s been made, especially in the past 80 years of popular styles. Where does it all go in your mind? How do you get from one thing to another?
These questions matter for this album, because Haruhi Kobayashi started off in the public eye as a J-Pop singer, putting out the 2017 album Inside Out on Sony. To be frank, it’s an undistinguished derivation of American soul and soft rock, the kind of imitation of styles that young musicians work through to find their own voice.
Well, Kobayashi has found that voice, and it’s not just orders of magnitude distant from the earlier album, but a remarkable journey from the universe of pop music into the kind of…
Known in the fine art sphere as wildly praised disruptive painter and Degenerative Artist ‘Shardcore’, Eric Drass is also an in-demand (if acerbic) global speaker on AI, deep fake, and machine learning tools in art (he’s showed up as a guest expert at the BBC Royal Institution Christmas Lectures and even on telly explaining deep fakes to Ian Hislop). DRASS is his first solo music project. On the Hill was gestated through 2025 in Eric’s secret lair in Sussex (genuinely accessed via a hidden doorway in a bookshelf).
…With his rhino-horn quiff and black varnished nails, a classy dresser, he cuts a ubiquitous silhouette around town, at our juicier tech gatherings, or propping up the bar at a certain kind of indie gig. Furious and funny, debut…
London Jazz Classics originally came out in 1993 – the first album ever to be released on Soul Jazz Records. The album brought together rare and obscure dance tracks in a unique mix of jazz dance and fusion, funk, Brazilian and Latin grooves.
The album was ironically titled – none of the music was from London, none of the music was traditionally classified as jazz, and all of the tracks were at the time practically unknown to most people. Instead, these were tracks that were filling dancefloors in a nascent jazz dance scene in London being created by a small group of DJs – Paul Murphy, Gilles Peterson, Sylvester, Patrick Forge and a few others.
As demand for these rare groove jazz tracks grew, previously unknown records…
Dervish is a celebrated Irish traditional folk band from County Sligo, formed in 1989. Fronted by charismatic singer and multi-instrumentalist Cathy Jordan, the ensemble also includes accomplished players on flute, fiddle, guitar, accordion, and mandola, drawing deeply on the rich musical heritage of northwest Ireland. For more than three decades, they’ve become one of the most respected names in Irish music, known for their dynamic live performances and a repertoire that weaves traditional Irish music with songs by contemporary Irish songwriters. The BBC, which presented the band with a lifetime achievement award in 2019, has described Dervish as “an icon of Irish music,” and the group has represented Ireland on stages from Glastonbury to Rock in Rio.
Few bands have shaped the landscape of rock music quite like The Who. With a legacy spanning nearly six decades, their sound, spirit, and spectacle have resonated across generations, cementing their place as pioneers of classic rock. From their role in the mod movement to groundbreaking albums such as My Generation (1965), Tommy (1969), and Who’s Next (1971), The Who helped define the genre while pushing its boundaries. Their music was instrumental in the development of hard and heavy rock, they famously entered the Guinness Book of Records as the loudest live act, and their sensational stage shows—complete with the ritual smashing of instruments—remain iconic. Often hailed as forefathers of punk rock, their influence…
Fragments: The Complete 1969 Salle Pleyel Concerts restores a night that sat in legend for decades to its full, disorienting glory. On 3 November 1969, Cecil Taylor brought his working Unit to the 8th Paris Jazz Festival and, instead of offering a polite festival sampler, delivered two full sets of unbroken invention at Salle Pleyel.
Here, for the first time, those performances are heard complete: no editorial fades, no selective excerpts, just the sustained pressure and turn‑on‑a‑dime responsiveness of a band at absolute peak. The lineup alone signals the gravity of the event – Taylor on piano, Sam Rivers on tenor and soprano saxophones and flute, Jimmy Lyons on alto saxophone, Andrew Cyrille on drums – but it’s the way they inhabit the room…
Non-sensical, un-user friendly, at times half finished. Camper Van Beethoven’s second album II & III saw the folk-punk of the band’s debut LP morphing into an even wider array of stylistic influences and (un)ironic contradictions, all rolled up into a coherently incoherent collection of some of the band’s most defining songs.
Originally released in 1986, the follow up to Telephone Free Landslide Victory did much to develop an already iconoclastic Camper Van Beethoven idiom. II & III ranges from alt-country ballads (“Sad Lovers’ Waltz”) to call-backs to the European folk instrumentals of their earlier work (“No Krugerrands For David”, “4 Year Plan”). Also featured is the band’s bluegrass-Americana take on Sonic Youth’s “I Love Her All the Time”…
Currently on the piano faculty as Artist-in-Residence at New York’s Bard College, Franco-Irish pianist Isabelle O’Connell has worked with a who’s-who of contemporary composers, from Missy Mazzoli and Julia Wolfe to John Adams and Donnacha Dennehy. Her unwavering commitment to new music is upheld on Cocteau in its premiere of Irish composer Rhona Clarke’s 2022 titular work; it also, however, documents a particularly fertile period in twentieth-century French culture in presenting material by contemporaries of Cocteau (1889-1963). Pieces by Satie, Stravinsky, and Les Six members Georges Auric, Louis Durey, Arthur Honegger, Darius Milhaud, Francis Poulenc, and Germaine Tailleferre appear alongside Clarke’s twenty-six-minute work, making…
…for a supremely rewarding presentation.
The word ‘immersive’ can be overdone or feel forced when applied to artistic endeavours, be it a theatrical performance, an exhibition or indeed an album. Yet, it feels like the natural descriptor for Partisan Ship, the latest offering from LA born, Brooklyn-based pianist, composer and bandleader Phillip Golub.
Golub has become an essential artist for fans of experimental avant-garde jazz. He has collaborated with other contemporary visionaries such as Vijay Iyer and is currently on a particularly prolific run – having released two records in 2025.
With Partisan Ship, which can loosely be seen as a concept album about a sea voyage – Golub continues his exploration of unusual microtonal scales. This time he performs with…
…Music of the Terrazoku: Ethnographic Recordings from an Imagined Future is the brainchild of drummer-composer Will Glaser, who has assembled a wide array of experimental musicians to help him execute his vision. There’s pretty much everything here, from ambience to industrial music, free improv to early 20th-century jazz. The idea is that such musicians have lived through a climactic event that has wiped away all reference points, and are recreating music from scratch, a metaphor for rebuilding a fractured society.
The very first sounds are like a Geiger counter and a human playing on found containers before breaking into an array of junk drums: just what one might expect for the re-origins of music. Isn’t this how our primitive ancestors started?
With Aves de Nahá, Bosque Vacío turn from the fractured wetlands of Mexico City toward the dense cosmologies of the Lacandon jungle in Chiapas. Where 2023’s Cantera Oriente traced the unstable boundaries between quarry, reserve and megapolis — a site where nature exists in continuous dialogue with urbanism — this new work listens further back and further outward.
Asphalt gives way to canopy; infrastructural hum yields to breath, feather, omen.
Developed through an exchange between anthropology, ornithology and the Lacandon community of Nahá, the album situates birds not as documentary field-recording subjects but as sentient presences embedded in ritual, subsistence and prophecy. Crucially, they are…
The Spatulas’ Miranda Soileau-Pratt has long been a favorite among Dusted’s rock contingent, whether exploring the “entropic blues” with Nowhere Flower’s Lila Jarzombek or working out an earthy, buzzing, fuzzing full band sound in Beehive Mind and The March Chant EP. In her latest incarnation, she has surrounded herself with an all-new band, which includes Luke Einsiedler, ex of Arvid Noe and (New England) Patriots; Elijah Bodish of Mordecai and the drummer Greg Witz of Invisible Rays and Strange Passage. The result is a fuller, richer, more explosive sound, especially in the guitars where Soileau-Pratt and Einsiedler find a raucous, slashing concord.
Soileau-Pratt sings, as always, with a little wobble, the waver in her voice conveying…
Where has Ecca Vandal been? Nine years have passed since NME labelled the artist’s self-titled album “one of the year’s brightest debuts” for the way she attacked storming guitar riffs as easily as punchy synth beats. Much like Frank Carter & The Rattlesnakes or Nova Twins, Vandal juggled her fiery punk spirit with plenty of vocal dexterity, earning support slots with Incubus and Queens of the Stone Age. But after the pandemic interrupted her momentum, she didn’t come racing out of the blocks to chase after it.
Vandal refused to rush her second album. Carefully crafted in producer Richie Buxton’s bedroom in Melbourne – the city where she grew up after moving from South Africa as a child – she hit reset, bided her time and named…
It’s only been three years since Feeble Little Horse last released an album—2023’s excellent, blown-out Girl With Fish—but between the canceled tour, a standalone single, and sporadic activity online since then, it feels like the wait has been far longer. Alas, that ends very soon; Feeble Little Horse are releasing their new album, Bitknot. The band hasn’t shared any further information about the LP, so this comes very close to qualifying for “surprise release” status.
Feeble Little Horse embrace the D.I.Y. nature of the Pittsburgh music scene, from the gauzy, more immediate sound of their live performances to the extra attention they pay and the flourishes they add to their recorded output. They were formed in 2021 by guitarists Sebastian Kinsler…