Os sets B2B de Octo Octa e Eris Drew são o que há de lendário, mas os DJs casados nunca haviam colaborado em um disco até se unirem para remixar “Disco III” da Special Interest em 2021.
Alchemical Sisters: Alchemical Sisters [Interdimensional Transitions].
Para um nome conjunto, eles escolheram “Alchemical Sisters”, uma brincadeira, é claro, com os Chemical Brothers. Determinismo nominativo em ação: o big beat dos anos ’90 — de Orb a Orbit — compõe o DNA central do primeiro álbum completo do duo.
Pieced together in their New Hampshire log cabin, Alchemical Sisters is, writes Andrew Ryce in Pitchfork’s new review, “a four-dimensional record where the past endlessly loops back on itself,” where “originality and reference become one and the same.”.
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So insular is Fine Glindvad Jensen’s musical realm that one ends up reaching for increasingly tortured anachronisms just to map its periphery: Lana if she fronted the Warm Inventions, Hope Sandoval if she made Honeymoon, a Bond girl who’s also Julee Cruise.
Isso não significa que Jazz Dreams seja pouco acolhedor; o segundo álbum solo do artista de Copenhague conhecido mononimamente como Fine é luxuoso, até aconchegante, impregnado de folk paisley e jangle pop.
But spend enough time in this incense-scented, velvet-upholstered lounge, and you may begin to see strange shadows crawling up the walls.
Ryan Hemsworth: Numbskull [Topshelf].
Longtime producer for the indie rock stars Ryan Hemsworth returns with his first solo album in nearly a decade to remind us what his own songwriting sounds like free from others’ ideas.
Acontece que é electropop cáustico, filtrado por fuzz granulado, ganchos vocais pop que poderiam escalar uma montanha, e o tipo de notas de baixo estrondosas que poderiam funcionar tão bem em EDM ou synthpunk.
Hemsworth não tem nada a provar, no entanto, o que lhe permite explorar algumas participações especiais — Tegan and Sara, Illuminati Hotties, MSPAINT, Allie — que mostram até onde as ideias de um cantor-compositor podem se estender em sua própria voz e além.
It’s a mature choice, showcasing not just his own skills, but how strongly they lift friends around him, too.
Shabazz Palaces: It’s a Style Sport [Sub Pop].
Iyaz Siddiqi sobre “It’s a Style Sport”, seu primeiro álbum completo em seis anos como Shabazz Palaces, Ishmael Butler volta às muitas facetas de seu multifacetado projeto de rap.
Lead single “Ahh World (I Won The Alpha Bet)” sets lucid social commentary to ominous beats that sound like the very dystopian future he rallies listeners to prevent; “Jheri Curl Jump,” meanwhile, is a loquacious love story murmured over jittery electro-funk.
Butler’s latest for Sub Pop follows the sibling mini-albums Exotic Birds of Prey and Robed in Rareness. The LP features, among others, Thaddillac, Evan Flory-Barnes, and Kassa Overall, pairing Butler’s own production with that of sometime Shabazz collaborator Erik Blood.
Josh Johnson: Animative [International Anthem/Nonesuch].
To say Josh Johnson has a lot going on would be an understatement. The Los Angeles composer and multi-instrumentalist—sax, keys, synth, and effects, if you're wondering—has released killer albums with his trio SML and Jeff Parker’s ETA IVtet, plus produced for Flea and Meshell Ndegeocello.
Agora ele está fazendo seu debut solo no International Anthem com um conjunto de faixas que canoniza seu papel decisivo na crescente renovação do jazz experimental da Costa Oeste.
Per press materials, Johnson drew inspiration from his former teacher Wayne Shorter, the West African philosopher Malidoma Somé’s writings, and “non-Western ways of thinking about time and being.”.
Caroline Rose: Gentling o Cavalo no Walt Whitman Mall [Suck].
Caroline Rose loves a good character. The New York singer-songwriter’s taste for writing people “who are a little strange, who are outsiders, who seem to fuck up a lot,” per a recent statement, fits nicely with their taste for genre-hopping.
(To their credit, Rose hopped on the “concept album about fame” train years before it got cool again.) Their new album Gentling the Horse at the Walt Whitman Mall, got them in the studio with the Paper Chase’s John Congleton, leaning into the breezy hooks and angsty energy of surf rock to translate personal encounters with the uglier corners of the Americana dream.
Brakence knew what he was doing when he titled his comeback single after four years of radio silence “Ready or Not.” Despite his extended absence (or maybe, in fact, because of it), the singer-songwriter-producer has held on to a fervent fanbase happy to keep running back Hypochondriac and supplementing with Quadeca and/or Jane Remover shows until he resurfaces.
But he still has his own long shadow to stand up to, a challenge he meets with a hefty 18 new tracks that return to his glitch-crooner roots.
Ouça no Apple Music, no Spotify, no Tidal e no Amazon Music.
O duo da Bay Area, Sour Widows, tirou inspiração para seu mais recente trabalho de uma fonte bem sombria: um sonho apocalíptico que a cofundadora Maia Sinaiko teve, no qual “todas as vestígios da civilização humana seriam em breve obliterados, nossos esforços coletivos perdidos para sempre; ninguém jamais saberia.” Sinaiko e a colega de banda Susanna Thomson apresentam essa premissa em tons de grunge, emo e alt-rock, de maneira igualmente sombria.
But working with Jay Som and Boygenius producer Melina Duterte, they also manage to infuse these heavy compositions with a sense of urgency, fleet-footedness, and, perhaps most importantly, hope.
Loidis: From the Toolkit of Lovers [Incienso].
Após uma carreira de 15 anos marcada por turnês, é compreensível que Loidis queira um pouco de paz. A sorte é que isso significa continuar produzindo sua mistura especial de minimal techno, ambient e dub, como exemplificado no estelar álbum de 2024, One Day.
His next LP, From The Toolkit Of Lovers, was recorded in the summer 2025 and centers on drawn-out tracks with plenty of room for stretched-out builds and spacious transitions.
In his own words, it’s ”a 110-minute meditation on life, love and dub.”.
William Basinski: Passing the Cup of Sorrows [Temporary Residence Ltd.].
No nicho da terapia de regressão de vidas passadas, “passing the cup of sorrows” descreve um conceito em que duas almas no mundo espiritual trocam energia, permitindo que uma alma compreenda e perdoe quem a feriu em uma vida passada.
These moments of spectral interplay inspired the avant-garde composer William Basinski’s first album in six years, a 40-minute suite of single-note piano and whispering electronics.
Ele compôs a peça quase inteiramente enquanto assistia a depoimentos da terapia, usando a relação deles com memórias fragmentadas e dolorosas para guiar sua mão, mente e coração.
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