Jane Weaver’s ‘Flock’ is perfectly complete, hermetically sealed while suggesting any number of influences and reference points that never usurp the originality of the songs themselves.
It’s the sense of time passing and time co-existing with other times that stays with you after you hear Brijean’s’ Feelings’. It becomes almost an experience of existential exploration and wonder.
Cloud Nothings’ ‘The Shadow I Remember’ caps a remarkably prolific 12 months for leader Dylan Baldi with a reminder about the possibilities for community that music can provide.
Sleaford Mods’ 11th studio album runs a glorious gamut from righteous anger to poignant introspection in a masterpiece of incisive cultural commentary and fully realized artistic vision.
Apparat's (aka Sascha Ring) re-imagined score from Mario Martone's 2018 Capri-Revolution works as a fine accompaniment to a meditational flight of fancy.
Hiss Golden Messenger offer up a welcome serving of musical communion, and in the service of others, during a time when we all need consolation and reassurance. Forward, Children is a PopMatters Pick and aids a worthy cause: education.
Four Tet's 10th album, Sixteen Oceans, begins on the dancefloor, travels to the woods, and ends becalmed, invoking, and bestowing peace and tranquility.
Burial's Tunes 2011-2019 is music that describes our alienation while it also provides us no little comfort in the face of that gloomy reality. This is flawless music of bewilderment and compassion in equal measure.
Taking inspiration from the short fiction of George Saunders and featuring guest appearances from Rain Phoenix and J. Mascis, Mark Mulcahy condenses ten brilliant and baffling short stories into barely a half hour of music.