‘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.’

NAMM CEO John Mlynczak on transforming the trade show from booth sales to brand experiences, music education advocacy, and generating 39M content views.

Vibraphonist Patricia Brennan discusses her constellation-based compositional system, blending jazz, classical, and alt-rock on Of The Near And Far.

Phil Haynes: Banging the Drum for Liberty Now page for The Tonearm

Bryan Senti: Strings, Migration, and Finding Home page for The Tonearm

Cultural anthropologist Graham St. John discusses his biography of psychedelic philosopher Terence McKenna, exploring DMT, rave culture, and the archaic revival.