It’s an ambitiously dramatic and highly theatrical album that never loses focus, and the band never forgets to have a blast in the process, making the whole thing a rollercoaster of high octane fun.
Dublin postpunk / nugaze / electro artist Revolution Above Disorder presents the single “Scream Quietly”, paying tribute to the groundbreaking band Television Personalities and the songwriting genius of Dan Treacy.
It has glimpses of the 70s, 80s, 90s, even the future, and ultimately nothing today sounds quite like what Sluka are making.
After four EPs, it clearly seems like Seneko is building his music to something big, and a full-length album will undoubtedly deliver on the promise in this collection of his best songs yet.
It might be some time and many repeated listens before the totality of SEL Fellow’s mysteries and beauty truly reveal themselves to this listener, but Tawni Bias is clearly a name that holds a ton of promise for the future.
Each Morning and the Morning Thereafter leaves the listener with the feeling that they have heard a collection that sounds a little like a million different references and yet also something entirely brand new and fresh.
A collaboration between freefloating funk ensemble Scary Pockets and keyboardist Larry Goldings, Scary Goldings lays the groove down hard on the combo’s fourth collaboration in four years.
The German saxophonist, singer and composer has been best known for her jazz work up until now, but here the notion of a singular style of music gets obliterated.
Once the wünderkind of organ trio jazz, multi-instrumentalist Joey DeFrancesco is now a veteran of more than three decades on the scene.
It’s difficult these days for bands to craft this kind of heaviosity, of which there are oceans, with any real distinction. But Blue Heron does it on the first try.
In only four deceptively simple songs they have crafted an immersive experience that envelopes and hooks you with each listen.
Trombonist Phil Ranelin isn’t a name that springs to the lips when talking about classic horn players, despite a career going back to the early seventies, playing with everyone from Freddie Hubbard to Wayne Kramer, and leading several bands, the most famous of which is the long-running Tribe.
Consisting mostly of standards, plus a couple of originals, the record sways and swings old school, paying tribute to influential pickers like Jim Hall and Joe Pass as much as to the Los Angeles area after which it’s named.
Essentially a meditation on the evolution of civilization, this set of tunes melds traditional European classical forms with noisier, dissonant sounds suggesting the whiplash energy of twenty-first century urban life.
Singer/songwriter John Magee has been knocking around the Boston music scene since the early nineties and the first single by his band Sugarburn. But for the past couple of decades he’s been the engine running Scrimshanders, a late period alt.country band that recalls the best of the genre.
Alto saxophonist Adam Nolan likes his music fresh – so fresh, in fact, that he prefers free improvisation to pre-planned composition.
Parisian ensemble Ghost Rhythms opens its sixth album with a sound you don’t usually hear on one of its records: a human voice.
Recorded in 1967 and just now discovered and issued, Ave B Free Jam captures a group of musicians mostly at the very beginning of their careers.
If you think that you know exactly what Christmas albums sound like then you need to bend an ear towards the latest album from Paul Kelly. Here he overhauls the idea of the seasonal song by reimaging traditional carols and adding new life to the holiday pop canon. Christmas may never sound the same again!
True to the title, Mabern takes on the catalog of iconic saxophonist and composer John Coltrane, backed by saxists Vincent Herring and Eric Alexander, trombonist Steve Davis, bassist John Webber and drummer Joe Farnsworth.
As it slides towards it forty-fifth anniversary, ROVA (AKA the ROVA Saxophone Quartet) shows no signs of easing up, let alone slowing down, on latest album The Circumference of Reason.
Though based in Dallas, Texas, the hearts of the members of Brasuka live in Brazil.
Chicago’s Livingroom released their debut album, Don’t Shoot the Messenger!, this year, and it plays like exactly the breath of fresh air the music world needs at this moment.
For its third album since its 2013 reunion (and sixth overall), L.A. trio Failure modifies its approach while retaining its strengths.
Clearly inspired by prenaturally skilled popsters like Harry Nilsson, Brian Wilson and, most obviously Emitt Rhodes, whose “Promises I’ve Made” closes the record, Gabbard centers his songs around piano, vocal harmonies, and an eager sense of cautious optimism.
An unprecedented collaboration between major jazz labels, Relief aims to raise money for struggling musicians by collecting new and previously unreleased tracks from several well-known jazz artists.
Joined as headliner by his poet/dancer spouse Patricia Nicholson, Parker enters an explicitly political arena here – unsurprisingly for artists of color.
As far as Handsome Jack is concerned, the music of the twenty-first century doesn’t matter.
It’s the Canadian ace’s concerts that still produce awed whispers amongst his followers, and A Time For Love: The Oscar Peterson Quartet Live in Helsinki, 1987 documents a great one.
Longtime readers of this magazine/website will recognize the name Jeff Elbel, as he has written his fair share of pieces for The Big Takeover. But he’s also an accomplished singer/songwriter, as evidenced by his eighth album The Threefinger Opera.
Organized by Antietam leader Tara Key, His Majesty’s Request began as a benefit album to raise money for Wink O’Bannon’s treatment. But the guitarist died before the project could be completed, and now it exists in support of two music-related Louisville charities.
As musician, composer, bandleader, artistic director of the Newport Jazz Festival and host of NPR’s Jazz Night in America, bassist Christian McBride is practically the face of contemporary jazz.
The Black Watch’s bounty of quality songs continues with Here & There, the L.A. band’s fourth release in the past two years.
The group’s second album Apophenian Bliss picks up right where the first one left off: with a blaze of bristling (baritone) guitar noise, spaced-out keyboard storms, bluesy bass thud and kit-punishing drum athletics.
Saxophonist Ivo Perelman has long had a special relationship with the piano. He expands on that concept with Brass and Ivory Tales, a nine-disk box set of improvisations with nine different pianists that took the saxist seven years to complete.
It’s no easy thing to make an old school psychedelic rock record that isn’t either unintentionally parodic or covered in mold. Damned, though, if Virginia’s Snake Mountain Revival hasn’t done it.
The King circa ‘71, still in fine voice, at a creative crossroads.
For a while it seemed like the kind of rock & roll played by The Right Here – straightforward, heartfelt, drawn from the experiences of the hardworking 99% – threatened to take over the world.
Jess Chalker is an Australian singer-songwriter and artist originally from Sydney now living in London, UK. From humble roots as one of YouTube’s first-ever viral artists (with over 1.5m views of her self-penned songs), Jess went on to front Australian new-wave duo, We are the Brave, whose grassroots hits ‘Your Ghost’ and ‘Sparrow’ have now achieved close to a million streams across YouTube, Soundcloud and Spotify.
Armed with his custom five-string electric upright bass and looping technology, Weber weaves tracks based on tunes from studio LPs Orchestra and Pendulum into colorful new tapestries.
Though he has a remarkable CV as a sideman with several jazz luminaries, trombonist Joe Fielder has an equally impressive day job as music director and staff arranger for Sesame Street since 2009.
On cuts like Dave Brubeck’s “The Duke,” Johnny Green and Edward Heyman’s “Out of Nowhere” and Frank Loesser’s “I Know,” melody reigns supreme, Charlap teasing extended improvisations over Peter’s swinging bass and Kenny’s finger-snapping brushwork.
A big voice infuses old soul sounds with modern urgency.
Just to remind us all that’s he still relevant, though, and not just reliving the glory days, Adamson accompanies the memoir’s release with Steal Away, four brand new songs.
