
RAYE’s Meaningful Maximalism
By repurposing sounds of a bygone era, Raye reminds us that the past’s freedoms are the constraints of the future. The only consistency is the desire to make art about them.
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By repurposing sounds of a bygone era, Raye reminds us that the past’s freedoms are the constraints of the future. The only consistency is the desire to make art about them.

Composer and pianist Aaron Wyanski transforms the notoriously difficult Pierrot Lunaire by Arnold Schoenberg into lounge jazz.

For Pharmacist, thrash is not solely defined by the frenzied lead work and lightning-fast approach of the 1980s. They are closer to a more modern interpretation of the genre.

Funebrarum continue to be among the standard bearers of the death metal creed, and they do so without sounding tired or annoyingly predictable.

Mark Trecka has the uncanny ability to make music that is grating, unhinged, and noisy, yet compulsively listenable.

Virginia MacDonald discovers the full range of sound in her instrument, making us wonder why there aren’t a dozen or more young jazz clarinetists these days.

Static Dress are the face of emo’s nostalgic new wave. They’re not here to provide nostalgia, though; they are here to kill it and build the present.

Prolific jazz saxophonist Adam Schatz, known for his work as an in-demand sideman, takes a bold step forward with Civil Engineering, Vol. 1.

What Maisie Peters expertly accomplishes on Florescence is a cohesive body of work that expresses the dual experience of falling low and flying high once again.

Kraftwerk’s entire discography deserves attention, but Radio-Activity, now sounding better than ever, is arguably their creative watershed moment.

On Maitreya Corso, Maya Hawke continues to prove her adeptness as a musician and observer of human behavior, rendering allegations of nepotism irrelevant.

An artist’s work is their own to paint. Blue Morpho sounds like the beginning of an impressive solo journey for Radiohead’s Ed O’Brien.