The London group’s new instrumental pairs bebop and jazz language with the physical energy of classic British electronic music.
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The London group’s new instrumental pairs bebop and jazz language with the physical energy of classic British electronic music.
The 2006 album returns on 23 October with expanded vinyl and CD editions, a live set from Amsterdam Paradiso, and previously unseen archival material.
The band returns to Matador Records with a new single about distance and an album framed around kintsugi, the Japanese art of repairing broken pottery with gold.
From Akron’s industrial edges, an independent artist maps personal loss, Irish blood and the weight of the rejected into a sound that has already begun to oxidize.
John Beith’s ambient project returns with a track that treats stillness as its own kind of movement.
Graceland drew global attention for South Africa, but its lead single was built entirely in New York, shaped by a party mix-up and a midlife crisis.
The New York project’s debut single turns a private bedroom into a continuous emotional field, where domestic noise, restrained piano and a fragile high voice create a space that refuses to end.
Research from the University of Cambridge shows large language models can distinguish 20 jazz pianists with 94.4% accuracy, with harmony acting as the clearest marker of an artist’s style.
David Sprague’s photographs of the OAF House capture the informal infrastructure that held Austin’s early-80s punk scene together — before the police routinely shut it down.
A decade-old song from a Stockholm waterfront walk finds its voice under a new name, turning nearness into the heaviest kind of distance.
