Working in different cities, recording parts as MP3s, and stitching them together, Deerhoof once again show total disregard for the very concept of genre with their latest, Future Teenage Cave Artists.
100 gecs' follow up their debut with a "remix album" stuffed with features, remixes, covers, and a couple of new recordings. But don't worry, it's just as blissfully difficult as their debut.
On Half Price at 3:30, Art Feynman again proves himself adept at building colorful worlds from unexpected and well-placed aural flourishes.
My Bloody Valentine's Loveless stands as an album of (at least) equal importance to Nirvana's Nevermind. A great deal of its importance is how it offers a gender-bending sonic style that severed the entrenched connections between the electric guitar and masculine phallic power.
Drab City combine sultry vocals, superlative songwriting, vibraphone chords, twangy guitar, and shadowy atmospherics to conjure an intense trip-hop fever dream on Good Songs for Bad People.
The Uzbekistan-born, Chicago-raised NIIKA combines art-pop and exotic jazz stylings to create a deeply rewarding listening experience on Close But Not Too Close.
At Severed Heads' third-last show in New York, after decades of playing electronic, art-pop, Tom Ellard swung a noose around his band's head and, with an imitable grin, slowly pulled tighter. After 40 years, Severed Heads is done, and Ellard muses on his long career.
Magnetic Ghost's Pixels is absolutely masterful stuff from a sound-sculptor sitting at the intersection of post-rock, post-classical, and strains of ambient music.