Kaitlyn Aurelia Smith’s relationship with sound is in constant flux, and with her new album, her sonics disintegrate and rematerialize in fascinating new forms.
Experimentalist Matt DeMello throws his ample talents and wide-ranging tastes into a blender for ‘Confetti in a Coalmine’ which is full of chaotic, dense mirth.
Three decades ago, the lucid yet obscure (and antiquated yet postmodern) first entry in Stereolab’s superabundant catalog foreshadowed greatness. Peng! is 30.
Just as altermodern culture materializes “trajectories rather than destinations”, Rosalía’s MOTOMAMI concerns the freedom to create and explore pathways.
Erica Eso’s 192 sports classic pop and vintage soul elements, but surprises abound at nearly every turn. It’s full of skittish, multifaceted earworms.
Born of quarantine isolation, Pictish Trail’s Island Family explores connections to place and time. Its creativity offers a challenging authenticity.
Baltimore’s Tomato Flower straddle a variety of genres to make something fun and impossible to categorize with ‘Gold Arc’ and its experimental pop.
Pop renaissance man Shamir channels trauma, rage, and feelings of angst, and in response to our troubled times, he’s released an album of uncommon beauty.
Immersion into Elena Setién’s Unfamiliar Minds is not unlike watching a bowl being coaxed into shape on a potter’s wheel. The slightest touches can send it in another direction.
Kate Bush’s 50 Words For Snow is a jazzy wonderland of mystical creatures and fleeting romance with nuanced themes of impermanence and ephemeral love.