Parachute For Gordo's new LP, Best Understood By Children and Animals, diverges from the band's art-punk past. The result is an enthralling, throbbing, and incredibly percussion-driven document.
Featuring members of Wavves and the American Scene, Oakland's Unconditional Arms deliver an inspired instrumental that bodes well for a bright musical future.
Living dark may be the best revenge as Cleveland's Frayle suggest on their debut LP. Fans of gothic and black metal will rejoice as will those who love Portishead and Cocteau Twins.
Caspian's On Circles follows in the footsteps of 2015's beatific Dust and Disquiet. It's a big album with its details writ small.
Now is the perfect time to reacquaint -- or acquaint -- yourself with Stereolab's landmark 1996 album, Emperor Tomato Ketchup.
Infinite Color & Sound showcased their flourishing project at PublicArts ahead of sets at Sea.Hear.Now as part of a brief East Coast run. Photos and video of the whole show inside.
Guitarist Mike McCready of Pearl Jam and visual artist Kate Neckel chat about their audio/visual collaboration, Infinite Color & Sound.
Canadian experimental rock band, Fly Pan AM return after a 15-year absence, stressing the extremes of their sound on C'est ça.
M83's follow-up to 2007's ambient collection Digital Shades Vol. 1 lacks the ingenuity of his pioneering predecessors' output and the thrill-ride wonder of the genres he set out to salute.
Composer Christopher Bono returns with cast of impossibly talented players, including Laurie Anderson and Swans alumni, for the second improvisational NOUS album. Hear the new track "Nighten Gale".
Arcade Fire's Richard Reed Parry discusses his latest album, Quiet River of Dust Vol. 2, and the ties that a musical life creates.
If/When is stunning, proving yet again why the Tea Club should be celebrated by admirers of any—if not all—of their sundry genre classifications.
British instrumental trio Haiku Salut create a new soundtrack for Buster Keaton's classic 1926 film The General with brilliant and unconventional results.
Colorado trio Ghosts of Glaciers combine the primitive pounding of thrash metal with the intellectual nuances of progressive rock on a new track, culled from the upcoming album, The Greatest Burden.
Sweden post-rockers Oh Hiroshima return with their first album in four years. Though some of the sounds are familiar, the band escape cliches and emerge with a deeply satisfying LP. Hear it in full ahead of tomorrow's release.
Jambinai's ONDA finds cross-cultural influences from traditional Korean music, post-rock, and atmospheric metal, but their ethos is certainly more complex than a fusion or hybrid project.
Reissues of two early albums are a startling reminder of Stereolab's power and influence. Their music not only re-invents itself, but it refreshes and renews its listeners as well.
Unwed Sailor's Johnathon Ford discusses the history and evolution of his beloved band. "I've always focused more on a verse-chorus-bridge kind of structure. To my brain, it's like a New Order song without vocals."
On Emitter, UK instrumental ensemble the Pirate Ship Quintet dive deeper into the textures and sensibilities that define their beautifully melancholy sound.
Dylan Carlson and Adrienne Davies strip all ornamentation away from Earth's sound on their ninth studio album, Full Upon Her Burning Lips, the band's purest sonic statement to date.
Veteran electronic artist Stubbleman uses piano, bass, and synths to document America on Mountains and Plains. It's an exceptionally well-realized album.
With SING SINCK SING, Efrim Manuel Menuck and Kevin Doria arrive with a work that thrives through its melancholic tone, but allows a ray of hope to shine through.
Deerhunter's Why Hasn't Everything Already Disappeared? and Cryptograms are antithetical twins -- shattered mirror images, whose fragments echo each other and reflect Deerhunter's beginnings of and return to inspired experimentation.
From a 35-piece orchestra to a lean, five-person ensemble, These New Puritans are always changing. That continues with the new album, Inside the Rose, says George Barnett, "The pop bits are more pop and the extreme bits are more extreme."
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