Geographically Misha Sultan’s roots may be in Siberia, but sonically they’re everywhere. Ambient, dub techno, krautrock, chill-out—he does it all.
Michael Goldberg captures The Avengers’ Jimmy Wilsey and his downward trajectory with spare, slow, searching lines much like the guitarist summoned from his instrument.
While murder and crime certainly run deep in Claude Chabrol’s world of subterfuge, the dark desires of human nature that provoke them run immeasurably deeper.
New Orleans singer-songwriter Thomas Dollbaum fuses vivid lyric imagery with eclectic musical choices on his impressive debut album, Wellswood.
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.
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.
American roots music legends Mavis Staples and Levon Helm teamed up in 2011 for a fabulous collaboration, which we can now thankfully hear on Carry Me Home.
On Mr. Morale & The Big Steppers, renowned rapper Kendrick Lamar observes the strife plaguing his kingdom and consciously abdicates the throne.