The Unstable Molecule is unstable in all the right ways. Isotope 217 play modern jazz, post-rock, and funk but never fully commit to these genres within any given bar.
Beethoven’s symphonies remain open to reinterpretation, as Yannick Nézet-Séguin and the Chamber Orchestra of Europe demonstrate.
Not About to Die is a bootleg cassette of scrappy Wire demos recorded in the late 1970s that circulated in the early 1980s. It’s finally an official release.
Interpol’s The Other Side of Make-Believe has its share of moments that sound good while they’re playing but just can’t make a lasting impression after they stop.
Taking inspiration from Mussorgsky’s Pictures at an Exhibition, Vadim Neselovskyi takes us on a guided tour through the city of his childhood, leaving a bittersweet impression.
American primitive guitar master Glenn Jones continues to let the music guide him instead of the other way around on Vade Mecum, an approach that’s never led him wrong.
Malka Spigel fastens an older EP of reworkings to a newer EP of reworking. Gliding & Hiding is a small-scale revolution and a highly listenable one.
11 5 18 2 5 18 makes it sound like Yann Tiersen has been dabbling in deeply abstract instrumental synthesizer mood music for decades. Yes, he pulls it off.
Avant-jazz saxophonist Travis Laplante and the weather can be equally hard to predict. His latest stunning album, Wild Tapestry, combines both.
All of Liam Gallagher’s differences in approach on C’mon You Know are small on a grand scale, but there’s substance here. Just don’t expect to be taken on a mystery tour.
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.