However you choose to define it, Plankton Wat’s Hidden Path is a rich, moody, and atmospheric work that caters to passive and active listeners alike.
When Eucalyptus move away from clearly-defined genres, they really come into their own. You’re not likely to encounter an album like Moves anytime soon.
Chicago-based post-rock icons Tortoise get nostalgic with a remix re-release, with Doug McCombs telling tales of missing tapes and giving us new updates.
Mike Paradinas’ (aka µ-Ziq) current creative streak takes a quick break with the Goodbye Remixes EP. Some of the remixes add perks the originals didn’t have.
The Smile aren’t a full-on syncretism of Radiohead and Sons of Kemet, but A Light for Attracting Attention proves that it needn’t be.
High Pulp’s Pursuit of Ends isn’t craziness piled on top of more craziness. They just don’t feel the need to stick to one person’s idea of what jazz should be.
Peter Manning Robinson’s Celestial Candy is an album unlike any other. It takes one of Western music’s oldest instruments and gives it an intensely new twist.
Experimental jazz outfit Secret People’s sense of syncretism justifies their wacky list of influences on their debut album. You’re in for a treat.
Any parent interested in American roots music will be delighted by Aaron Nigel Smith and Red Yarn’s Smith & Yarn, an album so charming that children will enjoy it too.
By inviting drumming legend Albert “Tootie” Heath into his circle, jazz reedist Steven Lugerner records five covers with as much reverential care as his drummer.
Mark Knopfler forsook Dire Straits’ arena rock to become a troubadour in his solo life. The Studio Albums 1996-2007 shows just how well that glove fits.