The inaugural Madrid edition of Primavera Sound, one of the world’s largest musical festivals, saw many of us trudging through mud like zombies in the middle of the night, exhausted and confused.
Palestinian duo Zenobia on their love of Arabic and Western music scales and the freedom electronic music gives them to fearlessly explore women’s folk music.
Jayda G’s Guy is an admirable and occasionally affecting project that balances both personal vulnerabilities with uplifting and life-affirming music.
Homosexuality drove experimental band Coil’s creativity, yet they rejected the demand that they either embrace performative homosexuality or remain discreet and closeted.
Anyone coming to RP Boo or footwork in general via this release needs to be prepared to have their bones rearranged and their senses overloaded.
“aLAcarte pt. 2” offers another sweet slice of Ekiti Sound’s culturally-spiced pie. It’s a sensuously shuddering, percussive jam that is as minimal as deep.
Ramones’ Ramones uses reduction as a means to end, to bring rock back to its roots, whereas Devo’s Q: Are We Not Men? uses reduction as the end itself to mirror society’s decline.
Ambient maestro Matthew Robert Cooper (Eluvium) is two decades into his career, and on his latest LP, overcomes surprising obstacles physical and geographical.
Possibly the only DJ on earth to get the blessing of the Jerry Garcia estate, LP Giobbi’s first solo record charts a new course for contemporary dance music.
The Orb’s Prism is one of those albums that pleasantly bides its time, waiting for a rush of inspiration that turns out to be only a parade of pretty neat ideas.
SABIWA relies on Taiwan’s natural beauty and its traditions for a record that defies comfortable categorization and demands repeated listening.
Are words of equivalent value to sound in the making and understanding of modern music? Brian Eno’s Forever Voiceless Edition confronts these issues.
