Adrian Crowley works in the shadowy overlap between songwriterly craft and dream narratives. On his ninth full-length, he evokes bright, surreal worlds in his folk-influenced songs.
Joshua van Tassel plays a modern version of one of the earliest electronic instruments: the Ondes Martenot. He discusses the calm, beautiful album he's written for it, Dance Music Volume II: More Songs for Slow Motion.
Kristin Hersh thinks influences are a crutch, and chops are a barrier between artists and their truest expressions. We talk about life, music, the pandemic, dissociation, and the energy that courses not from her but through her when she's at her best.
Steve McDonald talks about the year that produced the first Redd Kross EP, an early eighth-grade graduation show with a then-unknown Black Flag, and a punk scene that welcomed and defined him.
The sometimes Wilco and Richard Thompson sideman, in-demand producer, and songwriter, James Elkington, muses on why it's taking longer than he expects to achieve more in a week than most of us get done in a lifetime.
Son Little finds commonalities across jazz, hip-hop, soul, R&B, and rock. His latest album grew out of a setback, but he created a stronger, simpler, more ruminative set of songs. Here he talks about creativity and obstacles and how they work together.
Little Common Twist, the latest improvisatory album from Ryley Walker and jazz drummer Charles Rumback, sounds like listening. The two musicians are locked in intuitive communion that confines neither guitar nor drums to their pigeonholes. We ask them how they do it and why.
Thurston Moore talks about the three instrumental pieces spanning nearly three hours that make up the Spirit Counsel box set, the people who inspired them, and the fact that he doesn't really consider himself a "guitar guy".
Jazz composer and R&B artist Patrice Rushen talks about how she fought for control of her music and her career in the late 1970s at Elektra -- and produced an extraordinary run of jazz-R&B-disco hybrid albums that the industry wasn't quite ready for.
L'Eclair's third album effortlessly touches on funk, prog, dub, disco, ambient, and electronic genres, warming the chilled precision of Krautrock with danceable rhythms. Bass player Elie Ghersinu observes, "It just keeps on evolving every day, every month."
From a 35-piece orchestra to a lean, five-person ensemble, These New Puritans are always changing. That continues with the new album, Inside the Rose, says George Barnett, "The pop bits are more pop and the extreme bits are more extreme."