SABIWA Folds the Music of Taiwan’s Ethnic Groups Into Odd, Elastic Concréte
SABIWA relies on Taiwan’s natural beauty and its traditions for a record that defies comfortable categorization and demands repeated listening.
SABIWA relies on Taiwan’s natural beauty and its traditions for a record that defies comfortable categorization and demands repeated listening.
As one-half of the experimental YoshimiOizumikiYoshiduO, Yoshimi permits her music to seemingly pop up from under the ground like a rare and fragile fungus.
Surprisingly, Fleetwood Mac began life as a blues-rock band before morphing into the pop/rock juggernaut that ruled the charts in the late 1970s.
Faten Kanaan’s musical molting feels more organic than the repetition in Steve Reich or Philip Glass; her music doesn’t rely on an unwavering framework for effect.
Blending Algerian Raï and Gasba, Syrian Dabke, Turkish dance, and floor-shaking Chicago Acid moves, Acid Arab make music targeting hips with surgical precision.
¡Ay! tugs Colombia’s music and language out of its natural space, allowing Lucrecia Dalt to beckon traditions across oceans and provide new spaces to inhabit.
The Futuristic Sounds of Sun Ra hearkens back to Sun Ra’s big band roots and his determination to create a genuine exploration of otherworldly space.
Bill Orcutt’s Music for Four Guitars is at once unlike anything he has ever released and a logical distillation of whatever has come before.
Matmos flit between the high and low transforming them into sound art that gives pop culture a friendly jostling on Regards/Ukłony dla Bogusław Schaeffer,
Red Baraat’s Sonny Singh celebrates Sikh spiritualism with more than a dash of Western pop’s global power on Chardi Kala, but its dependence on pop balladry weakens it.
Luaka Bop’s reissue of the Staples Jr. Singers’ sole album, When Do We Get Paid, brings a crucial gospel LP back into circulation.
The Good Ones’ raw truths and achingly beautiful music reach staggering depths on Rwanda… You See Ghosts, I See Sky.