Ross Goldstein Signals a Creative Rebirth with ‘Blunders’
Ross Goldstein’s Blunders embraces the melody and inventiveness of the best pop music but is still unusual and daring enough to stand out.
Ross Goldstein’s Blunders embraces the melody and inventiveness of the best pop music but is still unusual and daring enough to stand out.
Luke Wyland’s performances provide the usual Zen moments from this type of ambient minimalism, but there’s a hint of darkness within the notes.
When Talk Talk released It’s My Life in 1984, they shook the new wave establishment with great songs and a new approach, while refusing any genre boxification.
Chuck Prophet’s incorporation of Cumbia music on Wake the Dead feels more natural than it sounds, but he remains himself, and we get the best of both worlds.
From lush orchestral arrangements to frenetic fusion, Louis Cole’s nothing is arguably his most ambitious and wide-ranging album yet.
Dogo du Togo’s music bursts with brilliant shades of funk, rock, and older West African traditions, familiar elements that come together in fresh sounds.
Igmar Thomas’ Revive Big Band meld classic jazz and modern hip-hop to great effect on ‘Like a Tree It Grows’ with its exciting textures and rock-solid grooves.
With OVA, Afro Celt Sound System’s eighth LP, the long-running story comes to what seems to be its coda with the death of Simon Emmerson last year from cancer.
Jeremy Bolm is an expert at capturing the claustrophobic feeling of anxiety and depression, and Touché Amoré’s new album is another example of his talent.
Office Culture’s Charlie Kaplan takes a little from garage rock and folk rock, producing his most satisfying solo release to date. It genuinely mesmerizes.
Christian Lee Hutson’s Paradise Pop. 10 is one of those subtle and more nuanced albums, likely causing it to slip under the radar, but Hutson has arrived.
Flow Critical Lucidity may not supersede Thurston Moore’s past career peaks. However, it reveals the unbounded possibilities of transformation available to him.