Lawrence English reflects on the impossible trios of 'Trinity,' acid nostalgia as a weapon against possible futures, and how the tension between the microphone and the psychological ear shapes his field recording practice.
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After three years of touring more than 200 days annually, the guitarist and Jeff Tweedy sideman recorded 'Pilot Light' to recreate, musically, what constant travel had taken away.
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The French band discusses 'Crayola,' their latest EP of shoegaze-inflected dream pop that transforms fleeting observations and unreliable memories into songs as gray and intimate as their Normandy hometown.
Romitelli embraced psychedelic rock for its destabilizing potential rather than its commercial appeal, and a new recording of 'An Index of Metals' marks his passage from avant-garde specialist to repertoire composer two decades after cancer took him at forty-one in 2004.
After three years of touring more than 200 days annually, the guitarist and Jeff Tweedy sideman recorded 'Pilot Light' to recreate, musically, what constant travel had taken away.
The acclaimed cellist discusses his move from Manhattan to Rex Brasher's Wassaic farm, where he recorded his first solo album, 'REX,' finding the space between pristine composition and unpredictable improvisation.
On 'Rose-Anna,' the Vancouver pianist honors his great-grandmother's church-organ tradition through compositions that move between meditative prayer, silent-film themes, and post-bop propulsion.
The fiercely independent songwriter's EP 'daisy' honors their late childhood dog while exploring patterns of loyalty and mistreatment across romantic, familial, and pet relationships—all released exclusively on Bandcamp as an act of self-determination.
Alana incorporates her father David's beatnik wisdom into the EP 'Movies' while brother Adam channels Dylan-esque wanderlust on 'To The End', each forging distinct identities that occasionally converge for powerful family performances.
Through the archival efforts of Zev Feldman, two lost recordings surface: 'Vibrations in the Village', taped at New York's Village Gate in 1963, and 'Seek & Listen', captured at Seattle's Penthouse four years later, both documenting Kirk's ability to loop jazz history into one great sphere.
'Cavejaz' finds the Brazilian guitarist collaborating with UAKTI percussionist Paulo Santos, Japanese tabla master U-zhaan, and Los Angeles percussionist Tiki Pasillas on an album that privileges listening and space over the virtuosity his tradition demands.
The LA quintet's second album, 'How You Been', unfolds through the distillation of live improvisations into moments where individual voices dissolve into collective sound.
As Wormy, Noah Rauchwerk, the touring drummer for Samia, turns his van life into ten songs about anxiety, imposter syndrome, and "this sense of impending doom" that often shadows the good moments.
Drawing on behavioral science research, Hallsworth's 'The Hypocrisy Trap' examines how false signals of consistency drive our contempt for hypocrites and what happens when accusations of hypocrisy spiral out of control.
The Montreal electroacoustic artist spent three decades distributing sound through pirate radio and public space performances before releasing 'Vowel Jams', an album that spotlights her personal vision over public appeal.
Elujay explains how 'A Constant Charade' channels his graffiti roots, his friendship with Angus Cloud, and his belief that R&B thrives when artists keep surprising themselves and their listeners.
NAMM's president shares strategies for turning students into advocates, building passion before theory, and preparing the next generation to thrive in a world that doesn't yet exist.
Producer Marta Salogni and a rotating cast of musicians joined Westerman at an 18th-century mansion on Hydra to record 'A Jackal's Wedding,' an album where high ceilings and creative limitation were as vital as the songs themselves.
Three decades into their existence, Italy's experimental metal/rock/jazz trio release 'Ferrum Sidereum,' a double-album that draws on meteoric iron symbolism, Tibetan philosophy, and the practice of creating inner silence amid external chaos.
The London pianist's 'Emotionally Suited To Be A Solo Pianist' began as a three-hour improvisation that captured winter's quieter truths about distance, solitude, and the strange calm that arrives when the world slows down.
'They Shall Take Up Serpents' marks Sublime Frequencies' first American release, with Ian Brennan documenting a West Virginia church where drumming grandmas and flatpicking guitarists enter trance states that put decades of rock posturing to shame.
The vibraphonist's 'Of The Near And Far' superimposes constellations over the circle of fifths to generate pitch collections for a ten-piece ensemble while signaling her background in orchestral percussion, alternative rock, and the chamber works of Glass and Xenakis.
Silvia Ryder discusses her album 'Monday's Child', the unconventional instruments that define her music, and how leaving Sugar Plum Fairies led her to build a new identity from Omnichords and archival film.
The Sydney saxophonist's album 'Infinity II' emerges from fully improvised sessions with no charts, no discussion, and no overdubs—what Rose describes as humanist minimalism, where four musicians function like a living system.
From producing Galaxie 500 and Low to his new ambient masterwork '...and the crimson moon whispers goodbye,' the musician and Shimmy-Disc founder reflects on spontaneous composition, the spiritual dimensions of reverb, and finally achieving his personal 'Rothko Chapel.'
Three years of sessions in São Paulo yielded 'Pequena Vertigem de Amor,' an album born from the submarine days of early fatherhood and the vertigo between extraordinary love and ordinary routine.
Jazz drummer Phil Haynes's string band Free Country reconvened after a decade to record original compositions, but hours before the first session, trumpeter Herb Robertson died, and the 2024 election delivered its verdict—the double album 'Liberty Now!' carries both griefs.
Cellist Kirin McElwain's exploratory album 'Youth' turns toward crystalline feedback, chaotic oscillators, and intentionally harsh tones to express the feelings of desire and shame occupying the same cognitive space.
Faetooth's Ari May, Jenna Garcia, and Rah Kanan reflect on the three-year writing process behind 'Labyrinthine', a bold album that pushes doom metal toward greater abstraction without sacrificing ethereality.
Just intonation brought together two generations of experimental musicians for 'Extended Field,' an album that nimbly negotiates Horse Lords' mathematical expansiveness and Arnold Dreyblatt's tightly controlled harmonic universe.
The BAFTA-winning composer traces his parents' displacement from Colombia and Cuba across two albums, 'Manu' and 'La Marea', blending string orchestras with techno's rhythmic complexity and the "magical realism" of Latin American folk traditions.
The cellist and composer discusses her album 'Various Small Whistles and a Song,' a collection of field recordings that transform voting lines, train stations, and strangers' whistles into intimate sonic portraits of daily life.
The innovative composer discusses 'Broadsides,' an electroacoustic project set in the American South that treats traditional instruments as loaded cultural objects while pushing back against regional homogenization.
Cultural historian Graham St. John's 'Strange Attractor' chronicles McKenna's role as rogue scholar and stand-up philosopher, tracing his journey from a 1966 DMT conversion experience to becoming a disembodied voice whispering into the ears of dancers worldwide.
On 'System', Izzy Hagerup aka Prewn builds maximalist songs alone in her home studio, using 'self-indulgent' cello and multitracked vocals to process the gravity of being trapped inside something much bigger than herself.
Ondi Timoner's rockumentary follows the Brian Jonestown Massacre and the Dandy Warhols through the '90s music industry, but its most vital lesson has nothing to do with record labels—it's about the communities and collaborations that sustain bands.
Katie Ball and David Noonan explain how Just Mustard's third album, 'We Were Just Here,' pushes guitars past recognition and why growing up in Ireland's DIY scene infuses their musical ethos with attitude.
The Constant Smiles frontman discusses how 'Moonflowers' represents his return to fingerpicked folk after years of pushing against the Martha's Vineyard sounds that shaped him, and why he finally has the patience and skill to honor influences like Nick Drake.
The prolific guitarist talks about 'Trio of Bloom' with Craig Taborn and Marcus Gilmore, maintaining experimental outlets alongside two decades in Wilco, and the productive anxiety of working with wizard-level musicians.
The Antibalas trumpeter discusses how he built the album 'Resistance is Fertile' from beatbox demos, synchronized click tracks, and improvised layers, resulting in sounds that sit somewhere between Ornette Coleman and Death Grips.