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.
In a brilliant body of work like that of Charles Mingus, The Lost Album from Ronnie Scott’s is more sinew than either muscle or bone.
These now-official Buenos Aires concert recordings from 1973 and 1979 capture the great jazz pianist Bill Evans with each of his final trios.
New Orleans singer-songwriter Thomas Dollbaum fuses vivid lyric imagery with eclectic musical choices on his impressive debut album, Wellswood.
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.
SOAK shows on If I Never Know You Like This Again that using uncomfortable past experiences for personal growth doesn’t have to be a drag. It can be a blast.
Luaka Bop’s reissue of the Staples Jr. Singers’ sole album, When Do We Get Paid, brings a crucial gospel LP back into circulation.
Whether Say Sue Me are surf-rock, shoegaze, or dream-pop, none of these categories seem to matter when listening to the delightful The Last Thing Left.
‘Secret Chef’ Joe Blanton joins the Chefs’ Dan Baird and Stan Lynch for a 12-course rock ‘n’ roll delight with Sing For Your Supper.
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.