¡Ay! tugs Colombia’s music and language out of its natural space, allowing Lucrecia Dalt to beckon traditions across oceans and provide new spaces to inhabit.
The Futuristic Sounds of Sun Ra hearkens back to Sun Ra’s big band roots and his determination to create a genuine exploration of otherworldly space.
Bill Orcutt’s Music for Four Guitars is at once unlike anything he has ever released and a logical distillation of whatever has come before.
Matmos Brilliantly Re-purpose Electro-Acoustic Composition on ‘Regards Ukłony dla Bogusław Schaeffer’
Matmos flit between the high and low transforming them into sound art that gives pop culture a friendly jostling on Regards/Ukłony dla Bogusław Schaeffer,
Red Baraat’s Sonny Singh celebrates Sikh spiritualism with more than a dash of Western pop’s global power on Chardi Kala, but its dependence on pop balladry weakens it.
Luaka Bop’s reissue of the Staples Jr. Singers’ sole album, When Do We Get Paid, brings a crucial gospel LP back into circulation.
Charles Mingus’ The Lost Album From Ronnie Scott’s is right there next to his most blistering records from the 1960s. It’s that good.
In/Out/In, a collection of almost entirely instrumental tracks recorded during Sonic Youth’s final decade, would be a crucial record if it was the only thing they ever recorded.
Easily among the Fall’s top two LPs and one of the finest slabs of controlled noise of the post-punk era, Hex Enduction Hour continues to kick up new dust 40 years on.
Ricardo Donoso’s Progress Trap is cold. It sends chills, causes dark, abstract thoughts, and seems perpetually set in a futuristic noir.
Jake Xerxes Fussell’s Good and Green Again sounds as if it might have been released any time over the last 50 years without aging a day.