The music on the Notwist's Vertigo Days is "organized sound", as modernist composer Edgard Varèse would say. It clangs, hisses, and pops with human voices, clattering synths, and stylized repetitions.
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 Kabul Fire Vol. 2, Farhot's Afghan roots are not the only parts of his musical identity, but they are integral, represented in samples from film, folk music, and voices from his distant home.
The latest work from multifaceted artist Elori Saxl is a deeply satisfying, occasionally jarring work that takes minimalism, sampling, and chamber orchestras to a whole new level.
While the field of dark ambient is an increasingly crowded one, Massimo Pupillo has crafted a remarkable entry with The Black Iron Prison.
Krautrock’s Detlef Weinrich and folk’s Emmanuelle Parrenin team up for Jours de Grave, and it’s damn near perfect. It feels too organic and alive to be called “avant-garde”, even though it is.
The Future Bites objectively deserves applause for perpetuating Steven Wilson's integrity and creativity, even if it's a markedly—and perhaps intentionally—divisive collection, too.
Sleaford Mods’ 11th studio album runs a glorious gamut from righteous anger to poignant introspection in a masterpiece of incisive cultural commentary and fully realized artistic vision.
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.
Bicep's sophomore release Isles is much more grown-up and conflicted. However, this is not to the detriment of their characteristic eclectic abandon.
Ulla and Perila, two experimental producers on the vanguard of modern ambient, take their talent to new heights on LOG ET3RNAL, their first collaborative LP under the LOG moniker.
Orchestral Manoeuvres in the Dark are the most important and influential group of the late 1970s/early 1980s birth of electropop. OMD's classic, clever, arty synthpop single "Enola Gay" is 40 years old, and Andy McCluskey takes us through their history.
