Tim Butler of the Psychedelic Furs talks to PopMatters about the band’s first new album in nearly 30 years, COVID-19 delaying their tour, and a hopeful future.
Whit Dickey, William Parker, and Matthew Shipp push, pull, and roll their weight around in equal measure, making Village Mothership as unique as it is difficult.
Steph Richards’ Zephyr is a beast that, in everyone’s interest, shouldn’t be tamed. Strange music is one thing in that it provides life with much-needed flavor.
John Prine’s Fair & Square has a little bit of everything: blues, politics, humor, sadness, introspection, soupy background vocals, and some rocked-up Carter family.
Jazz trumpeter Terence Blanchard tips his hat to Wayne Shorter’s past while pushing his own sound forward on Absence. It feels natural through and through.
“It’s really simple,” Yann Tiersen explains. “There is no inspiration out of [the location], there is no deeper meaning than to just juxtapose music and places.”
Henry Threadgill’s followers and fans of modern jazz will have a new milestone to celebrate with Poof. The rest of you work on not taking him for granted.
If Let Love Be Your Guide doesn’t go down as the 21st-century kids’ music equivalent of The Freewheelin’ Bob Dylan, it will most likely pave the way for it.
Supergrass’ In It for the Money has gone down in rock history as a Britpop classic, and it sounds fresh and gleaming to this day.
Colin Newman and Malka Spigel talk about moving to Brighton, the art of collaboration, and the new Immersion project Nanocluster, Vol. 1.
Chris Carter, the architect of Throbbing Gristle’s sound, lets the ripple effects do the talking on the reissues of Electronic Ambient Remixes Three.