The Kyoto-born, Oslo-based composer’s seventh album treats electronic form as a votive object. Nine tracks hang where a wooden plaque would go.
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The Kyoto-born, Oslo-based composer’s seventh album treats electronic form as a votive object. Nine tracks hang where a wooden plaque would go.
The fourth Green Lung album opens with groove-led stoner rock, loses some momentum in its middle stretch, and regains it through absurd theatricality.
Gia Ford’s voice is not the problem on her new album—the material around it decides which songs actually land.
H.3.a.I’s The Fear Of Missing Out is a thirteen-track record of isolation, faith, and hard-won polish, written after time that did not belong to him.
On his 14-track album from Warsaw, the composer-producer builds a circular instrumental world where motifs return inverted, like light crossing a pinhole.
Peter Ehrling’s fifth album under the Stockholm project treats contrast as structure. Dancefloor light, industrial cold, and the names other people try to pin on you.
On his latest solo album, Brandon Flowers leans fully into the country sound he has long hinted at. The result is detailed and lively, even when the lyrics trip over themselves.
After two decades of meditation recordings from New York, the Inner Splendor founder treats mantra as a clock of attention, moving from private invocation to communal kirtan and back into stillness.
On Trickster, MonDeGos build a debut from heavy guitars, piano, and recycled masks. The record is restless, sometimes crowded, and more interesting when it stops explaining itself.
The band’s seventh album aims for glimpses of joy, but too often settles into comfortable, mid-tempo territory that never fully ignites.
