
Chat Pile Survey the Wreckage of Contemporary Life
Oklahoma noise band Chat Pile mix more melody into their bleak message on another powerful, unsettling collection, Who Loves the Sun.
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Oklahoma noise band Chat Pile mix more melody into their bleak message on another powerful, unsettling collection, Who Loves the Sun.

Like The Intuitionist, Colson Whitehead’s Cool Machine is a deeply interior novel in which Borgesian surreality is grounded by ruminative observations.

For jazz that is still moving the art forward, Henry Threadgill, Vijay Iyer, and Dafnis Prieto’s Fifteen is right on the money.

The Bird Calls have crafted yet another album combining sterling songwriting with exquisite musical arrangements. It’s Sam Sodomsky’s best work yet.

Tess Clare’s debut album, Diva 98, is made by someone who decided she had waited long enough and mostly proves she was right.

With Filter, Bayonne demonstrates how the lushness of adult pop can coexist with the modular logic of modern bedroom production.

Tedeschi Trucks Band take the audience on a ride to spiritual freedom, with a cathartic feeling woven throughout the show at Berkeley’s Greek Theater.

LOVE is the first album credited to Dexys Midnight Runners since 1985, an apposite gesture since the themes and undertones link back to Don’t Stand Me Down.

Ruthie Foster’s new LP succeeds because its optimism is carried by a voice that remains one of the most expressive instruments in contemporary roots music today.

Nicola Miller’s SPIT! is a fun, exciting, boundary-smashing jazz experiment among five deeply talented musicians with an uncommon gift for musical telepathy.

With the techniques of a novelist, Christophe Galfard uses engaging prose, mastery of knowledge in many realms, and remarkable skills of synthesis to explain what is known about life on Earth and possibly elsewhere.

Pure Ecstasy‘s highlight is Shomo’s undeniable talent for pop songwriting; however, it also pushes Beartooth’s heaviness into new directions.