To take in Maxine Funke’s music is to slow time down, watch a spider methodically envelop its catch for the day, or marvel at a flower on an okra plant.
As we wobble out of a nightmarish pandemic, Ziúr’s Antifate might be the soundtrack to our awkward efforts to wipe the cobwebs from our wings.
Dâm-Funk creates funk as ambience on Architecture III, the blunter edges chiseled, the song structure replaced by trance-inducing not-quite-dancefloor minimalism.
What we have on Goat Girl's On All Fours are some hazy but deeply unsettling observations, carried along effortlessly on a bed of delirious voices, sailing over music quieter, slicker, and tighter than that on their debut.
J Dilla's Welcome 2 Detroit announced where hip-hop could go in the 21st century. This reissue, expanded and spread over 12 seven-inch records, with a book that tells the whole story, reveals just how crucial an album it remains.
If there's a narrative arc to the Tomorrows trilogy, the upcoming final volume may not offer more than a cautious hope. Yet, such precariousness produces Son Lux's most probing, gorgeous music.
On In Blue, the Bug and Dis Fig have created music to dance to while being sucked into a black hole. It only seems fitting that LP cover shoes a grainy, black and white photo of a tunnel.
Detlef Weinrich's latest release as Tolouse Low Trax, Jumping Dead Leafs, is covered in such infectious, dank, thudding grooves that force the body to deal with them.
With Thread, Sally Anne Morgan shows that traditional folk music is not to be smothered in revivalist praise. It's simply there as a seed with which to plant new gardens.
There's humanity skating across Deradoorian's Find the Sun, a collection of barely-touched ideas that allows listeners to float in place.