Le Jour et la Nuit du Réel is a departure for Colleen and a natural progression. She delivers a micro-focused version of her sound sculptures.
Laurel Halo’s Atlas feels like a natural progression. Mixing her voice with electronics and instruments, she creates her most glacial music yet.
Anyone coming to RP Boo or footwork in general via this release needs to be prepared to have their bones rearranged and their senses overloaded.
The music Joshua Abrams makes with his Natural Information Society is at once inviting, spell-inducing, and consciousness provoking.
SABIWA relies on Taiwan’s natural beauty and its traditions for a record that defies comfortable categorization and demands repeated listening.
As one-half of the experimental YoshimiOizumikiYoshiduO, Yoshimi permits her music to seemingly pop up from under the ground like a rare and fragile fungus.
Surprisingly, Fleetwood Mac began life as a blues-rock band before morphing into the pop/rock juggernaut that ruled the charts in the late 1970s.
Faten Kanaan’s musical molting feels more organic than the repetition in Steve Reich or Philip Glass; her music doesn’t rely on an unwavering framework for effect.
Blending Algerian Raï and Gasba, Syrian Dabke, Turkish dance, and floor-shaking Chicago Acid moves, Acid Arab make music targeting hips with surgical precision.
¡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.