There was a certain jovial energy that added to the 2022 debut of contemporary jazz duo DOMi & JD BECK. Coming out of the gate with major co-signs from the likes of Herbie Hancock, Kurt Rosenwinkel, and Anderson.Paak, who helped release the stellar debut through his APESHIT imprint, along with the illustrious Blue Note Records. At the time, it seemed like the freshly budding duo was destined for jazz stardom in an era where the genre rarely gets the attention it deserves, but for one reason or another, the debut LP, titled NOT TiGHT, didn’t make the impact it was meant to. Sure, the Grammy acknowledgment was nice, and the A-list guest appearances were lovely and added some unique flair to the duo’s nimble, playful sound. Still, it could’ve been those…
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…new 50th anniversary 2CD expansion of The Flamin’ Groovies’ 1976 Sire debut is built around a new remaster of the original album from the analog tapes. The bonus disc adds previously unreleased outtakes and alternates as well as the existing audio from a Roxy show in ’76.
A lot had happened with the Flamin’ Groovies in the nearly five years that separated the epochal Teenage Head album and their return to American record racks with Shake Some Action. The Groovies lost their record deal with Buddah; lead singer Roy Loney had quit the band, leaving Cyril Jordan as the uncontested leader; and they had spent a lot of time in Europe, building a significant following in the United Kingdom. As a result, the Flamin’ Groovies on Shake Some Action…
Who needs a style when you’ve got the songs? We’re living in a musical landscape mediated by algorithmic overlords, in which listeners often seek to be soothed by (possibly evil) ambient tones, burrow deeper into (often frictionless) aesthetics they already like, and passively consume (AI-generated?) tracks suited for various lifestyle functions. People of taste have been decrying the public’s preference for familiar slop over challenging, adventurous, hard-to-categorize art from time immemorial, but in the music world, the streaming era has intensified the primacy of vibes over tunes. Mallory Hawk’s Chinook flies in the face of that conventional wisdom.
…Chinook is named for the helicopters that dotted the sky during Hawk’s childhood in…
The charismatic Albert Castiglia is one of our most preeminent blues-rockers, a certified badass, an engaging entertainer, and an underrated guitarist. As we learn on his 13th solo album, Grits & Glory, he’s also an unapologetic songwriter in touch with our chaotic times. It’s by far his most expansive album, as one of the few roots-blues artists who covers The Beatles and John Coltrane on the same record.
There are several threads here. He recorded live at Abbey Road Studios, working in the same space where The Beatles recorded their White Album and Pink Floyd laid down Dark Side of the Moon and Wish You Were Here. For the first time, Castiglia demonstrates an affinity for jazz in a searing take of Mongo Santamaria’s…
Peals — the Baltimore duo of William Cashion (Future Islands) and Bruce Willen (Double Dagger) — return with twin releases via Thrill Jockey: The Compound 76 and Le Pantoum 46.
Both albums document live performances in artist-run rooms separated by three years and a continent. Le Pantoum 46 was recorded in 2013 at Le Pantoum, a long-running DIY space in Quebec City partly run by friend of the band Jean-Michel Letendre Veilleux, during a North American tour with Small Sur that followed Peals’ debut Walking Field. Andy Abelow, then of Small Sur, joined the duo on that tour and plays saxophone on Blue Elvis and Floating Leaf — both Walking Field originals — beginning a collaboration that would continue on subsequent Peals records.
Twenty-five years on from its original release, Warp Records brings Aphex Twin’s Drukqs back into print on vinyl and CD. Often proclaimed as electronica’s one true genius, Richard James, AKA Aphex Twin, returns with a double CD that showcases his cleverness as well as his inevitable inscrutability. Still, amid macabre birthday songs, unsettling screams, and other bizarre touches, Drukqs offers the most technically accomplished and beautiful tracks of Aphex Twin’s career. Every aspect of the Aphex brain is on display here, from stark pieces performed on sampled piano and zither to Squarepusher-styled drum and bass implosions, all informed by that peculiar Aphex treatment of bittersweet melody and unparalleled programming.
A new album from US psychedelic rock legends Dead Meadow! Foundlings is a seven-track collection that delves deep into the band’s archives, spanning over two decades of sessions, tributes, and unreleased gems.
This rare collection promises to shed light on the band’s evolution and features previously unheard material showcasing their unique ability to channel classic influences, from Sabbath-inspired heaviness to shimmering, Cure-like textures, through their own hazy lens. It also serves as a tribute to bassist and founding member Steve Kille, who passed away two years ago after a long battle with cancer.
Foundlings is set to become essential listening for long-time fans and newcomers alike. It arrives as the band continues to cement…
Originally released in 1979, Low Budget marked a pivotal late career high point for The Kinks with a tougher, arena-ready sound. It became one of the band’s strongest U.S. releases and remains a defining album of their late 70s period.
This 2026 edition has been newly remastered from the original production sources, delivering improved clarity, balance, and dynamic range while preserving the character of the original mix. Tracks including “(Wish I Could Fly Like) Superman,” “Catch Me Now I’m Falling,” and the title track benefit from a more detailed and focused presentation.
Originally released in 1981, Give the People What They Want continued The Kinks’ early 80s run with a direct, guitar-driven sound and pointed, contemporary themes.
Built around the concise proverb “Those who live in glass houses shouldn’t throw stones”, In a Glass House stands as one of Gentle Giant’s most daring artistic statements. The saying warns against hypocrisy and hasty judgment, and in many ways, it mirrors the band’s own refusal to compromise or conform. Gentle Giant was the quintessential under‑the‑radar progressive rock band, fearlessly blending hard rock, medieval motifs, odd time signatures, classical structures, and sudden left‑turns that kept listeners constantly on edge.
By the time they released their fourth studio album, Octopus, in 1972, internal pressures were mounting. Phil Shulman left the band the following year, worn down by touring demands and strained family dynamics.
The Nimrods soundtrack features 22 of your favorite career-spanning Green Day songs plus soundtrack exclusives “I’m Never Gonna R.I.P” and four unreleased live songs the band recorded at the Palladium in Los Angeles featured in the movie. Additionally, the soundtrack has songs from The Paradox, Ultra Q and Mckenna Grace plus four tracks from Analog Dogs, the fictitious band “Nimrods” centers around.
The Nimrods film will hit theaters on August 14. Developed by writer/director Lee Kirk with Green Day and produced by Tim Perell, Nimrods is a coming-of-age story about three friends (Mason Thames, Kylr Coffman and Ryan Foust) who journey to Los Angeles, mistakenly believing that their band is opening for Green Day on New Year’s Eve.
…’12 Golden Country Greats’, which includes Ween classics “Piss Up a Rope,” “I’m Holding You,” and “Pretty Girl,” has been remastered from the original tapes and comes with more than 20 unreleased demos and outtakes from the Nashville sessions. Among them are two songs cut from the original album, “I’ve Got No Darkside” and Jerry Garcia tribute “So Long, Jerry.”
The main problem with 12 Golden Country Greats is that it’s Ween’s first album to concentrate on a single music genre and such concentration lends the impression that they consider themselves above the genre. But that isn’t entirely the case. Ween recorded 12 Golden Country Greats in Nashville with numerous legendary musicians, including the Jordanaires, Buddy Spicher,…
Down in rural Tennessee, place names often arose from the activities that occurred there: Whetstone Mountain, Poorhouse Branch, Tater Hill, Washboard Creek. If this folk etymology holds, it makes you wonder what was going on in Sweet Lips, Finger, and Hookers Bend. Each of these locations lends its name to a song on Sir Richard Bishop’s newest album, Hillbilly Erotica — the title of which suggests that he knows exactly what those folk were getting up to.
On Hillbilly Erotica, Bishop returns to his roots in more than one way. His paternal homestead of Enville, Tennessee, can be found among these backwoods haunts, and the album is steeped in the folk music of the region. It is a sequel of sorts to last year’s Hillbilly Ragas, which…
Rock music and the world of nature may not seem the most obvious bedfellows, but for Jonathan Meiburg’s Shearwater they go hand in hand. Meiburg’s band are, after all, named after a type of seabird, and the trio’s back catalogue demonstrates their skill in exploring humanity’s relationship with the Earth. The fact that he’s also a qualified biologist and published author only adds weight to the band’s worldview.
Shearwater’s 11th album is possibly their most painstakingly constructed to date. Recorded over four years while travelling across three continents, The New World saw Meiburg assemble an ensemble including Shahzad Ismaily, Leo Abrahams, regular collaborator Thor Harris, and Malian musicians Mamadou Kouyate (ngoni),…
GA-20 co-founding guitarist Matthew Stubbs was two decades away from being born when Charlie Musselwhite released his 1968 debut album Stand Back. But the young Stubbs joined the singer/songwriter/harmonica master’s band in 2008, traveling the world for a decade. He then recorded two discs with his Antiguas outfit before forming GA-20 in 2017, releasing that band’s first single two years later.
So it’s not unusual that, after the group’s success in the raw Chicago-styled blues field plowed by his former boss, he would reconnect with mentor, and elder statesman Musselwhite for Blues Now. At 82, the elder icon remains not just active but productive, recently releasing the fine Look Out Highway, somewhere around his…
Vini Reilly’s new album as The Durutti Column will inevitably appear poignant to fans. Since 2010’s A Paean to Wilson, his tribute to the late Factory Records boss who co-managed him for much of his career, he’s been largely absent, the result of strokes which left him so financially vulnerable his nephew had to crowdfund his rent. Two years ago, he told Uncut “there are no tunes happening” and trying to play “does my head in”. Indeed, and though a rash of reissues has helped compensate – including 1983’s once ‘lost’ Short Stories for Pauline – it’s hard to argue that Reilly isn’t still sorely underappreciated.
Fortunately, his enduring partners, drummer Bruce Mitchell (his co-manager, who first performed on 1981’s LC), and producer/…
Shoving into the world in 2021 with the intense Blackhaine collaboration ‘Did U Cum Yet / I’m Not Gonna Cum’, Hull-born sonic and visual artist Richie Culver (AKA Quiet Husband) has been feverishly recording and releasing music like a man possessed ever since.
His 2024 outing for Drowned By Locals, Religious Equipment, claimed the album of the week slot here at the Quietus. There was something insular and paranoid about that record. Like it was trying to keep the world out. The Architecture of Perception (only his 4th release since the start of this year, the slacker), by contrast, feels outward-looking. It’s spacious, atmospheric. The opening track ‘Composition’ is like standing outside of a club in the sticky heat of the night.
Jocelyn Balu’s debut album is one of a Congolese artist stepping into a lineage and making it breathe again. Rooted in the rumba of the ’40s to ’70s, Borumba follows the music’s Atlantic circle, from Kongo traditions and forced exile to Cuba and back. But the nine tracks never treat heritage as museum glass. They are warm, alert, political and gloriously alive, with every arrangement revealing fresh rhythmic depth, historical purpose, memory, grace and delight.
Balu’s golden, gospel-trained voice is the album’s centre of gravity, opening with a solemn a cappella on ‘Mobembo’ before it unfurls its elegant guitars, elastic bass and dancing percussion from a band assembled in southern France. The title-track states the mission with irresistible grace.
It is more than twenty years since Mick Flannery released his debut album Evening Train, but the tale it told of (as he puts it) “love, lust, gambling, and a faithful betrayal” has obviously preyed on his mind as he has carved out a feted musical career. Now he has reworked the songs from that record and added ten new ones into an album which accompanies a stage production. The House Must Win has already played to 17,000 people in Ireland over a five-week run. This could be termed the soundtrack album, and Flannery has clearly poured his heart and soul into it.
He has gathered a stellar cast of musicians and guest artists for the recording, including Anais Mitchell, Jenn Grand, Lisa Hannigan and others on vocals, as well as sundry Flannerys.