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Another week, another tech bro triumphantly declaring music solved, with hyper-individualisation via AI just around the corner. This obnoxious class of talentless grifters is obsessed with optimising everything, art included, and misses the point entirely. We want – no, need! – art to be messy, incomplete, and flawed.
Take Institut für Feinmotorik, originally from Germany’s Black Forest. The collective have spent years paring their sound down to squeaking, sparse forms that sound like mechanical contraptions in their death throes, indebted to both post-Cagean traditions and the Profan school of minimal techno. Their main medium? The Octogrammoticum – an orchestra of eight recordless turntables augmented by the scraps…

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A classical dimension has always been part of Raphael Weinroth-Browne‘s music, be it in the formal rigour of the compositional writing or the finesse of the Canadian cellist’s playing. It’s even more pronounced on his latest release, however, given that Empyrean is an album-length treatment of material created in 2024 for the James Wilton Dance company’s BACH Reimagined project. After touring his commissioned cello score with James and Sarah Wilton, Weinroth-Browne decided to shape it into what’s now the nine-part suite Empyrean. He’s not far wrong in pitching it as “a dialogue with Bach across the centuries.”
Don’t get the wrong idea: the album isn’t some mid-career pivot into classical, full stop; instead, it’s another of his…

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Doug Dulgarian founded Julia’s War Recordings in 2021 to help his friends release cassettes of the cool music they were making. The Philadelphia musician and They Are Gutting a Body of Water frontman has long demonstrated a fondness towards physical media formats: wearing out CDs in his tour van; dismantling VHS tapes for music videos; and, as a kid, collecting unlicensed remix compilations of tracks by his favorite artists, absorbing an eclecticism that he’d eventually reflect back in TAGABOW’s output.
Since 2017, Dulgarian has grown TAGABOW from its placid, solo origins into one of the decade’s most influential and inventive shoegaze bands; the proof is in Lotto, their bold and relentless breakout LP from last year.

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…early bird vinyl pressing (limited to 400) comes with a bonus CD, the “dronus disc,” a standalone drone piece the band want played simultaneously with the album itself.
On their 2026 album do you love the color of the sky? the intrepid shoegaze explorers Dummy continue to alter their template and come ever closer to fully integrating the Avant Garde and dreamy pop instincts that are their guiding tenets. Their previous album Free Energy saw them adding new age and experimentally soft sounds to the mix, here they strip them away and go for a more direct, if still at times challenging, approach. Pairing cloudy drifts of lush shoegaze guitar with thrumming drum & bass-inspired rhythms on many tracks, the overall feel of the record…

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Flora Hibberd is a British songwriter, living in France, and captures a romantic edge commonly heard on Marianne Faithfull’s incendiary pop. Hibberd’s voice is sharp, but the instrumentation balances it with sophisticated hooks and orchestral flourishes. This work Mammoth showcases a command of the studio, embellishing lyrical points with clever nips and tucks that accentuate the ballads. “Silent Movie Baby” opens with what sounds like a projectionist working the mechanisms, just as Hibberd appears to sing through a microphone from the 1920s; crackled lines etching at the ear. “Silent Movie Baby” was released as a single in September.
Mammoth follows a structure that links each song to a part of the artist’s life. “Deltaplane” is…

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While Jonathan Something (aka Jonathan Searles) has not gone full Nashville on his latest effort, One More Lonesome Cowboy Song, there is no mistaking the cosmic country influences spread across the record.
Beyond the cowboy-centric title and album art, his latest draws on folks like Gram Parsons and features impressive acoustic guitar fingerpicking throughout the seven songs. There have been elements of the genre in his past music, but One More Lonesome Cowboy Song is a complete musical departure from his last record, which was steeped in ’80s pop synthesizers, as well as other dives into garage rock and sample-heavy soul.
This record opens on “Country Rose,” sounding a bit like Harry Nilsson wielding an acoustic…

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Emma Rawicz is a British saxophonist who has been remarkably busy since 2021, winning Jazz Newcomer of the Year at the Parliamentary Jazz Awards, a Drake YolanDa award and becoming a BBC Young Musician Jazz Award finalist. She was also nominated for Instrumentalist of the Year at the Jazz FM Awards. Paintbox is her fifth record and the fourth for the ACT Music label.
“Cowboys and Aliens” opens the record with a repetitive riff that would not be out of place in a Steve Reich piece, which is perhaps an intentional cowboy reference. It soon opens out into a fascinating period of interplay between the quartet, with Rawicz pushing them to greater exploration and intensity until suddenly everything jerks to a halt, leaving just Elliot Galvin’s…

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French soprano saxophonist Emile Parisien is an eclectic jazz practitioner with inestimable musical gifts that allow him to explore a whole universe of sound. Parisien brings a glowing selection of tunes composed by himself, pianist and longtime collaborator Yaron Herman, and proficient bassist Linda May Han Oh, alongside two covers. Rounding out the quartet is tabla player and vocalist Prabhu Edouard, who helps establish an organically integrated framework for the leader’s world-fusion aesthetics. This group was formed after a memorable first performance in Paris.
Floating opens with Georges Ivanovitch Gurdjieff and Thomas de Hartmann’s “Asian Songs & Rhythms, No. 40”, a peaceful, spiritual tune that, combining Eastern modal…

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Television’s Marquee Moon reimagines guitar rock in such original, pioneering ways that critics and fans still struggle to describe its essence five decades after its original release. Made after the band cut its teeth for four years amid New York’s thriving arts scene, the 1977 album blends the inimitable interplay of guitarists Tom Verlaine and Richard Lloyd; spontaneous and precise approaches; and winding arrangements that draw as much from classical, jazz, and psychedelia as the punk ethos to which the album is often linked.
Marquee Moon reaches new sonic heights on Mobile Fidelity’s hybrid SACD. Mastered by engineer Rob LoVerde, this numbered-edition reissue of the effort Pitchfork named the third greatest of the entire 1970s plays with excellent…

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Alice tumbles down the rabbit hole into Wonderland, Lucy enters Narnia through the back of a wardrobe, and Dorothy gets whisked away in a tornado to the Land of Oz. Literary theorist Joseph Campbell would define each of those moments as a “call to adventure,” the first step of the hero’s journey that underlies all storytelling.
Now we can add one more such odyssey to the list: Marina Herlop follows her muse into the world of Dja Dja.
After two relatively unadorned albums of piano and voice, Herlop made her name with the expansive Pripyat and the daring Nekkuja. For her follow-up to the pair, she wanted to put restrictions on her creative process — an effort, given her seemingly boundless energy,…

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As a common element of science fiction stories, transmissions from space often spell doom for recipients on Earth. The recent streaming series Pluribus is an example of this plot, with an RNA sequence communicated through a radio signal from space. Once replicated, it leads to a virus that creates a hive mind among humans and resulting chaos and breakdowns. The Sirens, the new album from Animal Collective’s Geologist (Brian Weitz) and artist/printmaker Kyle Simon, is informed by this type of story to the degree that the composition process yields to the undeniable and, in some ways, inscrutable power of its source.
In this recording of an experiment/capture/ performance that occurred in October 2024, human musicians are not the primary initiators.

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Dis Fig, producer and vocalist Felicia Chen, embraces every facet of heaviness. Chen is driven by a desire to express deeper emotions through meticulously crafted, innovative production and expressive vocals. On acclaimed collaborations with The Bug, The Body, and Asian Dope Boys, Chen’s sound is indelible.
Her solo work utilizes electronic, industrial, and bass-forward music as filters for sonic plentitudes, unbounded and wholly her own. Every granule of sound is in service of alchemizing intense emotion and vulnerability. What To Make Of These Mortal Hands is an ambitious widening of Dis Fig’s scope, traversing tectonic dynamic shifts and heartrending arrangements in a filmic study of humanity’s capacity to create both beauty and devastation.

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Punk supergroup Fake Names return with Punk Ruins, their third studio album, out on Epitaph Records. Bringing together five architects of punk and hardcore, Fake Names channel decades of experience into a sound that feels immediate, electric, and entirely their own.Built on the collision of ’70s UK punk, classic hardcore, and guitar-driven power-rock, Punk Ruins finds the band pushing their chemistry further than ever-balancing sharp melodic instincts with explosive guitars, driving rhythms, and the restless energy that defines great punk rock.
A rare collaboration between five influential musicians whose combined history spans decades of underground and alternative music. The Band Fake Names features an all-star…

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Many current artists who have been filed by PR people with that good old singer-songwriter label have long ago abandoned what initially signified it – a singer with a singular acoustic instrument explaining what bothers or makes her or him happy. Not only have the lyrical themes diversified (a long time at that), but the musical approach has too, from diversified arrangements to bringing in elements that are not essentially either folk, blues or country in some shape or form.
With the fact that she is a vocalist/multi-instrumentalist (flute, guitar, etc.) Chicago’s V.V. Lightbody immediately defies that old singer-songwriter label. As somebody who has collaborated with a wide spectrum of artists, from Harry Styles to jazz drummer…

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There is an authenticity to the music of South Carolina’s Winyah that can’t be faked.
Much like The Strokes were distinctly a New York band and their music reflected the city they grew up in, Winyah’s indie rock has a breeziness and small-town sentimentality that feels of its time and place. The songs, especially on their sophomore effort, Right Here, Right Now, capture a restlessness that comes from driving around the same dusty roads and hanging out in backyards on summer nights.
The record opens with “The Ignition,” a two-minute instrumental that starts with the sound of rain and then slowly builds before guitar and drums kick in for the final third, constructing an impressive soundscape to start…

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In the early ‘90s, Corin Tucker and Tracy Sawyer were living in Olympia, Washington, barely out of high school and finding themselves in the very heart of the just-forming riot grrrl scene. Inspired by the feminist politics and exciting rethinking of what punk rock was capable of that defined the riot grrrl movement, the duo formed Heavens to Betsy, an emotionally furious and musically raw group consisting of Sawyer on a spartan drum kit and Tucker on guitar and vocals.
From 1991-1994 Heavens to Betsy performed and recorded steadily, disbanding after releasing multiple singles and a sole album, with both parties quickly forming new bands (Heavens to Betsy was Tucker’s first band before co-founding the wildly popular and influential…

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His profile elevated for the world to see and hear as Brian Eno’s creative partner on Fourth World, Vol. 1: Possible Musics (1980), trumpeter-composer Jon Hassell went on to make a name for himself with a litany of increasingly ambitious projects work, not only under his own name, but in other collaborative scenarios such as Dressing for Pleasure (1994). Hassell even deigned to perform live as the years wore on and Music Is Invisible is just one of those instances. And in reality, this album is taken from his final stage appearance, recorded with Rick Cox and John von Seggern at St. John at Hackney church, London on 23 May 2015. The 40-plus minutes was carefully edited and mixed by Jeff Rona in such a way that themes, motifs and riffs occur throughout…

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25-year-old German saxophonist Jakob Manz’s live album Supernova, recorded in front of 2,600 listeners in the Grand Hall of Frankfurt’s Alte Oper, makes clear: today’s jazz generation can still produce stars capable of captivating a large audience. At the same time, it proves that contemporary jazz from Germany can be exhilarating without sacrificing musical complexity or intensity. Above all, the album documents Manz’s extraordinary talent. Born in this century, he already possesses remarkable assurance and a strong sense of artistic identity – as well as the compelling ability to rise to the biggest occasions.
And the big occasion this certainly was. The concert on 27 January 2026 was the main event during Manz’s period as the youngest…

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