GEL’s Restlessness Is Thrilling on ‘Persona’
Hardcore punk band GEL’s ability to weave new influences into their sound while remaining instantly identifiable sets them apart. They’re a breath of fresh air.
Hardcore punk band GEL’s ability to weave new influences into their sound while remaining instantly identifiable sets them apart. They’re a breath of fresh air.
Umberto is a master of creating moods that may be unfamiliar and alien but, like the best ambient music, are eventually welcoming in their own way.
On VEENA LP, Queens rapper Heems delivers a significant and sonically diverse work of NYC rap fueled by diaspora blues. It’s his best record as a solo artist.
Chuck Johnson’s soundscapes have a widescreen feel with pedal steel guitar, twangy fingerpicking, and well-executed use of synthesizers and meditative drones.
The title of Americana artist Bella White’s new EP, Five for Silver, comes from the magpie rhyme about good things about to happen. These songs are gifts.
On her third album, This Is How Tomorrow Moves, Beatrice Laus, also known as beabadoobee, blends folk and rock to create a timeless fantasy world.
Bamako is the truest kind of jazz, all about movement and communication, and Nicole Mitchell and Ballaké Sissoko make for an expert team at the helm.
Pom Poko have figured out how to combine complex math rock with big pop hooks, but their willingness to stretch beyond these styles makes Champion intriguing.
Nathan Silver’s 1970s-styled throwback Between the Temples is a comedy of people awkwardly fumbling toward purpose, faith, and meaning.
Maude Latour’s ambitious debut LP suggests something rare: a visionary willing to trust her vision. The record offers a cohesive manifesto of mysticism.
Spirit of the Beehive offer their most rangy yet integrated album, each track striking a notable balance between sonic exploration and hook-leaning songcraft.
Canadian blues artist Colin James rocks out on the guitar on a new album, Chasing the Sun, and reminds us of strings’ power to pull emotions out of one’s heart.