There had been rumors for years that James Grigsby was in possession of a number of live recordings from the legendary LA-based U Totem. A supergroup of sorts that resulted from the merging of two other bands – 5uus and Motor Totemist Guild, led respectively by Dave Kerman and Grigsby – U Totem was ultimately in existence for maybe six years. During that period of time they recorded two rather stunning albums, including a self-titled debut that inspired an academic publication. Throughout its course, the band played music festivals, smaller venues, and dive bars, often without PR or fanfare.
…Grigsby finally released one set of these recordings, aptly titled Set. The album combines two U Totem performances, a six-track…
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The accordion emerges as a central instrument across three substantial concertante works exploring contemporary classical expression within Baltic music tradition. The program centers on Erkki-Sven Tüür’s 2007 Prophecy, a single-movement concerto examining the figure of the Seer, one who perceives future events yet faces societal rejection for this gift. The work unfolds across a substantial duration, maintaining musical momentum despite the absence of traditional movement divisions. Tüür’s opening establishes an orchestral foundation through soft, sustained sonority, gradually building in volume. The accordion enters almost imperceptibly embedded within orchestral texture, emerging gradually from accompaniment toward solo…
Much is made in current dance culture about electronic music as an outlet for queer joy. Earlier this year, for example, when Charli XCX declared that “the dancefloor is dead” in her latest news-cycle-consuming PR stunt, it provoked worldwide outcry from DJs and producers who argued that denying dance music’s modern ubiquity robs Black and queer communities of the ecstatic temples that they built, across decades, as an antidote to adversity. And while that retort isn’t inaccurate, it can be a little unintentionally reductivist. What about queer pain, queer sorrow, queer fear, queer anxiety? These emotions are just as central to the Black queer experience as joy, and some of the most interesting electronic music — Lotic’s eerie experimental R&B noise,…
After four years, North London’s 
Tenor saxophonist and vocalist Greg Piccolo has been leading his own band, Heavy Juice, since 1994, yet longtime blues lovers likely mostly associate him with the frontman of Roomful of Blues, a role he held for 25 years. This new effort, Who Knows What the Future Holds, may surprise those same people. This is a singer-songwriter record, consisting of unpublished tunes that Piccolo has written over the years.
Claudia Quintet’s founder, 
Pianist Jason Moran, sound sculpture BlankFor.Ms, and drummer Marcus Gilmore reunite for their second album of boundary pushing live and electronically processed music with 2026’s 
Jóhann Jóhannsson: Piano Works brings together pianist 
…unreleased music from the ‘Fisherman’s Blues’ sessions, plus revelatory live versions of ‘And a Bang On the Ear’ and Dylan’s ‘New Morning’.
There’s something delightfully uncomplicated about the music of 
The second act of one of Europe’s most fearless experimental rocks bands of the 70s and early 80s continues, now running much longer than Act One. OM was the band who set out in 1972 to bypass all the dauntless bands dabbling in jazz-rock fusion by bringing rock straight into the free improvisation realm. Now in their seventies, the members of OM seem just as determined as ever to keep making this challenging but ultimately rewarding music.
The third batch of 50th anniversary releases arrives in June, with 
…Like Hoboken’s finest, 
When Belgian singer-songwriter/multidisciplinary artist Camille Willemart, alias 
There is an impressively austere quality to