
Taroug’s New LP Sports a Desolate Downtempo Beauty
Taroug creates a work of desolate beauty that slakes your thirst but never fully gives itself away, gradually revealing itself in layers of thick, rumbling sonic murk.

Taroug creates a work of desolate beauty that slakes your thirst but never fully gives itself away, gradually revealing itself in layers of thick, rumbling sonic murk.

Carlos Ferreira and Dasom Baek’s new transatlantic collaboration, Unbalance combines musique concrète with one-take improvisation.

The “Paul McCartney Is Dead” hoax is so familiar to the public that it is taught in psychology courses to illustrate confirmation bias. Why won’t it just die, already?

New German Cinema shows that pop, when rendered with elegance and depth, can be as weighty as a tome, and although pain is inevitable, it can be a form of succor.

Planet B’s Justin Pearson has accumulated a discography that impressively hangs together without repetition, and this is yet another powerful entry.

Phew and Danielle de Picciotto create music that expands and contracts constantly, so transparent at times that it’s barely there at all.

Pick a Piper’s Dandelion is a poignant reflection on love and renewal, whilst offering a reminder that there is beauty in the process of starting over.

On The Mountain, Gorillaz render the cinema of life, with its frankness and earnest-heartedness, as naturally as anything they’ve created.

Trusted tastemakers and thoughtful curators like Barry Can’t Swim help make sense of chaos, separating the signal from the noise and the wheat from the chaff.

On their newest LP, the German electronic stalwarts Modeselektor look back on their discography with a spirit of innovation rather than retrospection.

People say that there are four oceans, but one could reasonably argue that there’s a fifth: the one created by Éliane Radigue and her legion of cosmic drones.

Glorious gloom permeates the musical catalogue of Swedish singer-songwriter Fågelle, and her album Bränn min jord overflows with it.