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.
Immersion into Elena Setién’s Unfamiliar Minds is not unlike watching a bowl being coaxed into shape on a potter’s wheel. The slightest touches can send it in another direction.
Mira Calix’s Absent Origin takes the concepts of Dada and re-arrangement from visual artists such as Duchamp for a series of tracks impossible to pin down.
Phew’s voice on New Decade is an instrument often disconnected from lyrics. Its job is supplemental to the amorphous tones she invokes from electronics.