Composer Justina Repečkaitė’s album “Tapestries” gathers pieces written over more than ten years, turning medieval references, birdsong, and extended vocal-instrumental techniques into music with its own internal logic.
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Composer Justina Repečkaitė’s album “Tapestries” gathers pieces written over more than ten years, turning medieval references, birdsong, and extended vocal-instrumental techniques into music with its own internal logic.
After a period of post-‘Kick’ burnout and a turn toward painting, the Barcelona-based artist returns with a record that reconnects to her early mixtape lineage and the dystopian transmission of ‘@@@@@’.
A.G. Syjuco does not announce himself loudly. Under the name Black Leather Birds he has spent the last five years building a body of work that feels less like a catalogue of releases and more like a series of rooms you enter and do not entirely leave. Launched during the 2020 pandemic as a personal …
Langdon Hickman’s latest “Mining Metal” intro examines how overexposure to the underground can dull the senses, and why a dose of the mainstream can sharpen our appreciation for the genuinely strange.
A European tour aligns with the anniversary of her first concert film, as a recent Guardian ranking maps a catalogue where pop and the avant-garde keep colliding.
The Quebec duo brought polka dots, pyramid heads, and relentlessly complex playing to a packed room, turning a first UK show into a memorable collision of musicianship and absurdity.
The live album, recorded with New York jazz quartet Sexmob, reshapes familiar material around narrative arcs that give it the feel of a full performance rather than a collection of songs.
At 86, the pioneering composer continues her life’s work: revealing the music inherent in the world’s everyday sounds.
The virtuoso guitarist turns inward, mapping a new emotional terrain on a startlingly direct album.
More than a punk icon, Nina Hagen is a permanent lesson in artistic freedom, a performer who weaponized her own strangeness into a liberating doctrine.
