
Rob Smith Unspools Mesmerizing Psychedelic Folk on ‘Salt Star’
Rob Smith’s Salt Star is a brief, bright light of emotion and musical interplay, highlighting his unique, consistently engaging vision.
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Rob Smith’s Salt Star is a brief, bright light of emotion and musical interplay, highlighting his unique, consistently engaging vision.

Nia Archives’ new album captures a gifted artist and producer as she transcends her influences, claiming and reveling in her own bewitching style.

Aaron Lee Tasjan wrestles with imposter syndrome and artificial intelligence on Get Over It, Underdog. Tasjan finds joy and pleasure where he can.

Like a mojito laced with absinthe, the sweet mixture packs a kick, reflecting the understated sophistication of Maria Luiza Jobim’s latest album.

In July’s best metal, Witches Hammer deliver their final chapter, Emptiness return to their dark ways, and Sex Prisoner unleash powerviolence with heavy groove.

Tyshawn Sorey convenes a searing band for his refraction and elevation of Max Roach’s original Members Don’t Git Weary, and the result is a fresh message for 2026.

The most striking thing about Tekno’s Where Did Love Go? isn’t that he sounds unaware of the changes in Afrobeats, but that he seems comfortable ignoring them.

Jazz artist Miles Okazaki has had no trouble defining his own space and personality on the big American landscape. He sounds, finally, like no other guitarist.

Frozen Charlotte demonstrates once again that Jack White remains a high level blues rock maestro and tone scientist still in the prime of his career.

Sequoia’s So Long is the sound of a well-lived, occasionally heartbroken folk troubadour who has seen it all and will happily oblige you with a story in song.

Brånd’s Tåg & Nåcht offers boundless exploration, touching on everything from post-punk and neofolk to electronica and krautrock with a black metal underpinning.

Loathe changed the face of metal six years ago. With a new sound in tow, are they still capable of reaching those heights with A Stranger to You?