Grace After a Party is a bold and confident debut introducing Jemima Coulter as an artist who straddles the line between the experimental and the accessible.
Beyoncé’s Renaissance repackages traditional marketing and 1990s-inspired dance music, creating the ultimate combination of streaming sensibilities and feel-good anthems.
Lera Lynn’s ability to balance some of her most personal lyrical matter with a newfound pop ebullience comes through resoundingly on Something More Than Love.
In the best heavy metal of July, Ashenspire’s weaponized avant-garde black metal thrills while Chat Pile relish reality with noise, sludge, and no wave applications.
ODESZA’s The Last Goodbye is impressively diverse and wide-ranging; there are moments of elysian pop, broody angst, thrilling dance, and smart wit.
Ibrahim Maalouf and Angelique Kidjo reinvent the Solomon-Sheba legend as a cross-cultural story with contemporary resonance on Queen of Sheba.
Experimentalist Matt DeMello throws his ample talents and wide-ranging tastes into a blender for ‘Confetti in a Coalmine’ which is full of chaotic, dense mirth.
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.
Ella Fitzgerald mixed styles in a unique way while sticking to the work of one songwriter at a time. This recording shows how she could masterfully do this with a live orchestra.
Beethoven’s symphonies remain open to reinterpretation, as Yannick Nézet-Séguin and the Chamber Orchestra of Europe demonstrate.