Perila creates uncanny worlds crackling with both elemental force and human ingenuity. How Much Time is a glowing debut worth a full and dedicated listening.
It is immensely satisfying to hear new music from the ever-innovative minds of Yat-Kha. Even better, though, is the sheer quality of We Will Never Die.
Making music in quarantine, isolated from bandmates and audiences, feels like the antithesis of everything Sunny Jain has done so far.
Noir Brésil stands out as a dynamic and borderline spiritual work of pop music and signals great things ahead for Yndi. The music feels extravagant and huge.
Bachelor is a collaboration between Palehound’s Ellen Kempner and Jay Som’s Melina Duterte. On Doomin’ Sun, they join seamlessly and skillfully.
Japan’s CHAI tend toward high energy and irrepressible positivity, all with a satisfying rock edge. Wink opens not with a bang but with full-body synthpop bliss.
Ya Tseen’s vision on Indian Yard is expansive and yet feels fully realized. It’s hard to imagine an album covering more ground and still striking such a precise balance of cohesion and variety.
Black Ants sees the Kasai Allstars tap into a new dimension of vitality and points to refreshing new possibilities for the Congotronics series.
Like nature itself, Satomimagae’s Hanazono is by turns stormy and serene indie folk, as meditative as it is simmering with dormant, primal power.
The appeal of Toumani Diabaté’s Kôrôlén is manifold. It features some of Mali’s finest musicians working with one of the world’s most versatile orchestras.