William Parker’s Universal Tonality is a recording he has been holding in his back pocket for just about 20 years now, which is crazy because it’s so good.
Jake Blount reworks traditional spirituals for a future setting on The New Faith and wonders what black music will sound like after climate change.
Kelsea Ballerini’s Subject to Change suggests another genre-bending, boundary-pushing country crossover record, but it’s her most conservative work to date.
September’s best metal albums feature Autopsy re-affirming death metal sovereignty, City of Caterpillar’s return to off-kilter post-hardcore after 20 years, and so much more.
Sparked by a three-man band and her riveting guitar riffs, power player Madison Cunningham turns on an infatuated crowd with new songs and a rock-hard attitude.
No. 2’s First Love pulls right up in front of you and wastes no time, like a friend who comes to pick you up for a night out and leaves the car running.
If a manifesto isn’t angry, it must rely on humor. The Nap Minister Tricia Hersey’s manifesto, Rest Is Resistance, struggles to compel one to inaction.
The Liar suggests Americana’s John Fullbright understands the transcendent reality provided through music. The line between reality and lies is murky.
Office Culture sing of love, sadness, and city life on Big Time Things, buoyed by a four-piece combination that locks in with a unique brand of art-pop.
The Advisory Circle’s Full Circle tunes in, drones on, and drops out. It’s less evocative of the hauntology aesthetic and more of a contemporary ambient electronic album.
CC Sorensen makes music you have never heard before on ‘Phantom Rooms’, where their “Frog Jazz” incorporates ambient, noise, avant-garde, and cyclical minimalism.
Pixies’ Doggerel switches between rock and folk drastically. The crisp production perfectly serves this dynamic, but for foggy ideas and fabricated whimsy.