What we have on Goat Girl's On All Fours are some hazy but deeply unsettling observations, carried along effortlessly on a bed of delirious voices, sailing over music quieter, slicker, and tighter than that on their debut.
J Dilla's Welcome 2 Detroit announced where hip-hop could go in the 21st century. This reissue, expanded and spread over 12 seven-inch records, with a book that tells the whole story, reveals just how crucial an album it remains.
If there's a narrative arc to the Tomorrows trilogy, the upcoming final volume may not offer more than a cautious hope. Yet, such precariousness produces Son Lux's most probing, gorgeous music.
On In Blue, the Bug and Dis Fig have created music to dance to while being sucked into a black hole. It only seems fitting that LP cover shoes a grainy, black and white photo of a tunnel.
A more complete picture of the band's period output does wonders for the Fall's The Frenz Experiment.
Detlef Weinrich's latest release as Tolouse Low Trax, Jumping Dead Leafs, is covered in such infectious, dank, thudding grooves that force the body to deal with them.
With Thread, Sally Anne Morgan shows that traditional folk music is not to be smothered in revivalist praise. It's simply there as a seed with which to plant new gardens.
There's humanity skating across Deradoorian's Find the Sun, a collection of barely-touched ideas that allows listeners to float in place.
For a moment, Fool for the City found Foghat putting their glitter-embossed Converse Chucks on hallowed stadium ground.
Jon Hassell’s music is forever contemporary. All he’s had to do is leave open space for the next exploration, as he does on Seeing Through Sound.
The ability to help the listener achieve a certain elevation is something Laraaji can do, at least to some degree, no matter the instrument.
Hawkwind's 1970 debut opened the door to rock's collective sonic possibilities, something that connected them tenuously to punk, dance, metal, and noise.
