For a moment, Fool for the City found Foghat putting their glitter-embossed Converse Chucks on hallowed stadium ground.
At 83, it's clear Jon Hassell's music is forever contemporary. All he's had to do is leave open space for the next exploration, as he does on Seeing Through Sound.
The ability to help the listener achieve a certain elevation is something Laraaji can do, at least to some degree, no matter the instrument.
Hawkwind's 1970 debut opened the door to rock's collective sonic possibilities, something that connected them tenuously to punk, dance, metal, and noise.
The more any notions of preconceived musicality are flicked to the curb, the more absorbing Tatsuya Nakatani and Shane Parish's Interactivity gets.
Mourning [A] BLKstar's The Cycle is necessary, secular gospel for the healing of a truly damaged nation. Their music somehow sounds like salvation.
Symbiosis shows Nathalie Bruno (Drift.) wiping the mascara, leaving the dance floor, and striking out for solitude, occasionally dragging a few beats with her.
On the instrumental version of last year's Flamagra, Flying Lotus makes conspicuous variety feel coherent and ordered.
Experimental guitarist, Noveller's Arrow suggests discoveries, open spaces, the sense of a calm certainty re-occurring over repeated listens.
On Ocorara 2010, producer Elysia Crampton blends deeply meditative drones with "misreadings" of Latinx poets such as Jaime Saenz and Juan Roman Jimenez