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.
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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.
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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.
Fifty years after its first publication, Marcus reflects on his landmark examination of American mythology through rock and roll, discussing Little Richard blowing away a Dick Cavett debate panel, Robert Johnson's inescapable netherworld, and why Elvis still leaves him dumbfounded.
Montreal's Yves Jarvis discusses his fifth album, 'All Cylinders'—sixteen self-performed, DIY-recorded tracks that won the 2025 Polaris Music Prize and taught him that embracing traditional songcraft opens new frontiers rather than closing them.
On their second album 'Won't Believe In Dust', the instrumental trio moves beyond the vintage country songbook that sparked their formation, embracing everything from calypso bounce to free-flowing post-bop while sharing a belief that laughter belongs in the creative process.
The acclaimed pianist reflects on a lifetime of adapting tools never designed for blind musicians, how his mother taught him that communicating feeling matters more than technical perfection, and why he believes technology's moral compass must always stay ahead of its capabilities.
The multi-instrumentalist and producer discusses his album 'Who Cares Wins,' realized during his time volunteering for the NHS, and how working with everyone from Sun Ra Arkestra to Σtella requires leaving ego at the door.
From his first encounter with 'Explorations' to writing liner notes for 'Haunted Heart: The Legendary Riverside Studio Recordings,' the jazz historian discusses how Evans, LaFaro, and Motian transformed friction into a circular, evolutionary approach to the jazz trio format.
Sam Sarty and Gilad Carroll discuss their Winnipeg roots, the making of 'Internal Drone Infinity', and how the band transforms isolation and distance into thoughtful dream pop that leaves space for memory and the quiet work of getting better.
Recording their debut album live off the floor in just seven days, the trio channels garage rock fury and Maritime folk traditions into songs that capture a regional scene experiencing its own creative renaissance.
The electronic producer discusses his sixth album 'Tremor,' a record that pulls together shoegaze, ambient drone, and club music, and features collaborations with Alison Mosshart, New Dad, and Bdrmm.
The saxophonist and woodwind specialist discusses his first solo album in over a decade, 'Looms & Legends,' which alternates between pieces that create sonic fabrics through extended techniques and those that tell linear stories through melodic narrative.
Danz CM's album 'LÄRM!' abandons pop structures for tape-saturated jams inspired by the kosmische music of '70s Germany, while her Synth History project documents the pioneers and gear that made electronic music possible.
The Berlin-based composer's album 'Domschatzkammer' refracts instruments through one another, slows a Bach chorale beyond recognition, and transforms the harp into an emotional outlet shaped by catastrophe.
On 'Vesper Sparrow,' JJJJJerome Ellis transforms involuntary speech into musical structure, returns to childhood hymns outside the church, and experiments with sound environments designed for slower listening.
The Pratt-educated artist's new EP, 'DOT,' merges painting and music into spartan recordings that follow her voice wherever it leads, guided by instinct and a belief that quality requires creative human thought.
The collaboration between industrial techno artists Maelstrom and Louisahhh and post-hardcore band Birds in Row resulted in 'Violent God,' a record born from the belief that if you're not enjoying the process, what are you doing?
With 'Off the Record', McCraven transforms fully improvised concerts from underground Chicago venues and New York jazz clubs into a four-EP meditation on what it means to share space, take risks, and participate in the unrepeatable.
The duo's latest album 'ARAN' completes an ambitious Flaherty trilogy, blending self-taught harp, ondes Martenot, and a €8 children's keyboard into an hour-plus score recorded in a single take at an intimate Strasbourg venue.
From the Fairlight CMI to the 1940s Ondioline, Erika Dohi built her sophomore album using rare instruments with distinct personalities, astrology as a compositional framework, and meditation practices that confronted loneliness.
After two decades together, Miguel Zenón's quartet documents their chemistry on 'Vanguardia Subterránea,' a live recording from the Village Vanguard that brings together family tributes, geographical coordinates, and the deep musical connection between New York and Puerto Rico.
Byrne's Seattle show pairs Talking Heads paranoia with newer material about love as punk resistance. In Lawrence Peryer's review of the performance, he recognizes the destination without possessing the map to get there.
Robert Callender's debut 'Rainbow' merged jazz, poetry, and Indian classical music in 1968, then largely disappeared. Archivist Chaim O'Brien-Blumenthal explains how a 2023 concert recording became the start of the artist's rediscovery.
Brendan Wright reflects on learning to share creative control, the liberating chaos of DIY touring, and how 'Troubadour' bottles up a moment when relationships shifted and the world felt like it was falling apart.
As New England Conservatory celebrates what would have been Gunther Schuller's 100th birthday, three musicians who knew him discuss the work ethic, institutional courage, and polyglot vision that made teaching ragtime next to European harmony seem natural rather than radical.
Examining Tim Harrison's 'A Strange Loop' alongside William Basinski's 'The Disintegration Loops,' George Grella finds complementary visions of how loop music engages the universe's inexorable movement from order to chaos.
The bassist discusses her album 'Strange Heavens,' a chordless trio recording with Ambrose Akinmusire and Tyshawn Sorey that explores anxiety, release, and the human tendency to choose familiar comfort over unknown possibility.
The Dublin-based songwriter reflects on her debut 'Window in the Woods,' a record that moves between lament and possibility through piano, layered strings, and seascapes recorded off Ireland's west coast.
The Fayetteville singer-songwriter discusses his solo album 'Refugia Blues,' his path from punk rock to the music his grandparents sang, and the resistance embedded in Southern Gospel and string band music.
Music writer Bill Kopp's new book 'What's the Big Idea' examines 30 concept albums across six decades, from Frank Zappa to Apples In Stereo, William Shatner to Ghostface Killah, arguing that the format remains vital in an era of streaming and shortened attention spans.
The Antibalas and Here Lies Man drummer spent decades avoiding his father Herbie Mann's music, but a 50th anniversary and a new arrangement of 'Memphis Underground' gave him an unexpected way to reconnect with a relationship that ended 22 years ago.
The experimental cellist discusses her ambient album 'Just Like Any Other Day (어느날): Background Music For Your Mundane Activities', a four-year project born from isolation that turned memories of Korean cinema and cheap-sounding synthesizers into companionship for daily living.
Anthony David Vernon argues that vinyl, cassettes, and MP3 players offer more than nostalgia—they present a temporary masculinity alien to traditional gender binaries, one where tactile engagement with sound refuses to belong to any single expression.
The legendary On-U Sound producer discusses 'The Collapse of Everything,' his first solo album in thirteen years, and why treating the mixing desk as a live instrument remains his most radical act.
Five years and 21 songs into 'Highwalllow & Supermoon Songs,' Zac Little unveils an album that mirrors the cycle of a planetary system, its melodies pulled into orbit around a central landscape.
In response to society's struggles in an era of manipulated information, Bertucci's 'The Oracle' uses vocal processing and mythological references to examine how clarity has become a luxury in contemporary communication.