Tashi Dorji’s Guitar Eradicates Western Notions of Authenticity
Experimentalist Tashi Dorji sometimes sounds like a kid discovering their first couple of chords on a guitar and ultimately heading for the fire pit.
Experimentalist Tashi Dorji sometimes sounds like a kid discovering their first couple of chords on a guitar and ultimately heading for the fire pit.
On Vertigo, psychedelic rockers Wand distill hours of material and add ornamentation to tracks that regularly favor mood over moments of grandeur.
On their first official album as a trio, the Nathan Bowles Trio forsake egotism in favor of collective world-building with warm, inviting acoustic music.
Dirty Three continue their long career of making organic, meditative post-rock jazz that always humbly approaches a single moment, without pretense or distraction.
Six Organs of Admittance’s Time Is Glass is ultimately about estrangement in this world with songs that inhabit the space between immanence and transcendence.
Long-standing art pop collective, the High Llamas take big risks on their latest LP, redefining their sound with hip-hop, R&B, and a lot of Auto-Tune.
Six Organs of Admittance’s Ben Chasny discusses late 1990s folk, music journalism, his independent publication, and new record Time Is Glass.
Laetitia Sadier of Stereolab sees love as a solution for our contemporary ills, whether personal, political, or planetary. The stakes couldn’t be higher.
If you like Ty Segall, you’ll get plenty more of what you like about him on Three Bells along with drums used as a compositional tool and a rhythmic one.
Former Smog songsmith Bill Callahan offers sparse and dry-recorded acoustic portraits on Gold Record.
The head High Llama, Sean O'Hagan reaches way beyond pop to make the surreal easy listening album, Radum Calls, Radum Calls.
Chicago songwriter and guitarist Bill MacKay reflects on his softly powerful recent experimental rock work, and a life spent in thrall to the innate poetry in people and places.