Toronto experimental multimedia collective Intersystems return with a new album that’s just as adventurous and unsettling as the music they made decades ago.
Rare, Forever may be Leon Vynehall’s most daring work, but unfortunately, the result is just too cluttered to achieve any sense of artistic transcendence.
Yoko Ono’s story is of a passionate and powerful songwriter and artist. A creative and sensitive musician who worked doggedly to bring her avant-garde aesthetic to pop music and to use her voice to advocate for the rights of women, racial minorities, and LGBTQ people.
Rare, Forever synthesizes Leon Vynehall’s musical instincts into one unique vision. Both beguiling abstract and instantly gratifying it’s as dizzyingly immersive as Nothing Is Still.
Joseph Shabason’s new solo LP The Fellowship is a sublime, expertly crafted journey through his upbringing in a dual-faith household.
Like nature itself, Satomimagae’s Hanazono is by turns stormy and serene indie folk, as meditative as it is simmering with dormant, primal power.
Andy Stott’s Never the Right Time may be the most inviting record in his catalogue, an entry point into his funereal sound-world. It’s also one of his best.
Combining field recordings with quiet, droning musical touches, A Softer Focus from experimentalist Claire Rousay may be her strongest work yet.
G_d’s Pee AT STATE’S END! the best record the Montreal Godspeed You! Black Emperor have put together since 2000’s Lift Yr Skinny Fists Like Antennas to Heaven. And that is no small feat.
In this interview with Jan St. Werner, the veteran electronic musician discusses how Mouse on Mars have attempted to blur the distinction between machine intelligence and empathy on their new album AAI.
Canadian composer Colin Fisher brings his jazz chops to an odd, calming collection of new-age psychedelia, Reflections of the Invisible World.