Exhaust, the trio of adventurous saxophonist Camila Nebbia, inventive keyboardist Kit Downes, and responsive drummer Andrew Lisle, is a product of the fertile, contemporary Berlin jazz scene. These improvisers work from a pure free-jazz angle, showcasing an instinctual kinship that may lead you to unexpected places.
“Complicated Matters of Presence” kicks off with delicate and ruminative interplay, each member layering with confidence as they introduce valid ideas with possibilities for development. Crescendos, climaxes, and sweeping vortexes of sound are constantly carried out with tension and an underlying energy that refuses to dissipate. “Three Heads in One” feels like a warped song, but its narrative is intact. Lisle’s drumming…
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The fifth and sixth albums – not including soundtracks – by Dutch lutenist 
Devagar Que A Vida É Curta translates loosely as ‘Go slowly as life is short’. The title track does anything but go slowly, a frantic 43 seconds where 
In the first era of rock & roll, while country music was a clear part of the DNA of rockabilly and many other white rock sounds, there were few things considered less hip than what was still widely known as hillbilly music, and rock & roll was what the hepcats liked, even if they lived below the Mason-Dixon line. It was with the rise of folk-rock that rock musicians who appreciated the soulful, emotionally honest approach of the best country music gained an audience, and by the mid-’60s, a new breed of rockers were paying open homage to classic country music, though it would take Nashville much longer to reciprocate. By the mid-’70s, the Eagles were stars and most country-rock had become laid-back to the point of being lethargic, and it became easy…
You might think that the last thing the world needs at this time is another couple of compilation albums of Neil Young songs performed by other artists, but you’d be wrong. You’d be wrong because, fundamentally, these releases and the series to which they belong aim to raise the profile of and funds for The Bridge School, a non-profit organisation founded by Neil and Pegi Young to serve individuals with severe speech and physical impairments. All of the artists here donated their recordings in support of The Bridge School. Based in Hillsborough, CA, The Bridge School provides support to children between the ages of three and 13 years of age with extensive speech and physical disabilities, working in tandem with its affiliate charity, Bridge to Life, which…
…The expanded edition features the track “San Francisco Christmas,” a collaboration with The Secret Sisters originally issued on an exclusive Record Store Day 7-inch single in 2025.
There is something reassuring about a band reaching its fifth album and deciding that, rather than reinventing itself, it might be worth remembering what made it exciting in the first place. After the glossy dystopian theatrics of 2023’s Dead Club City, 
New York indie artist Eliza Edens was navigating two deeply personal reckonings leading up to the recording of Death Drive. As they entered their late twenties, Edens was grappling with the grief of losing their mother to dementia while also exploring their queerness for the first time. That collision of emotions found its way into their latest LP, with songs exploring everything from grief and desire to uncertainty and moments of joy.
The 
Perfection came quickly to 
After merging influences from throughout their 20-year career — including but not limited to kosmische, disco, dub, post-punk, and art pop, and bands like Neu!, Kraftwerk, Stereolab, and the Orb — on 2022’s 
Sweden’s 
In the hands of Kurdish-Syrian “King of Keyboard” 
In a vanitas painting, life is captured in ephemera. Popular with Dutch Baroque painters during the 16th and 17th centuries, the style used the still-life format to comment on the frivolity of earthly possessions. Artworks showcased scattered — and for the time, pretty mundane — stuff: a lute, a conch shell, a half-drunk glass of wine. The old masters didn’t include descriptions of why each item mattered or what historical memory they were meant to evoke. But they rendered them in vivid detail nonetheless.
When Bar Italia hit the Dean Blunt-starved Zillennial masses like a fucking atom bomb, skeptics accused the disaffected trio of coming off as too cool for their own good. We can argue over whether Tracey Denim has held up, but I’d counter that what made the band stand out in the first place wasn’t some effortless sense of style, but rather how awkward and discomforting they all seemed. Though their references may have been extremely well-worn, their pitchy singing, bizarre fashion choices, and sweet-but-slightly-off songwriting made them poster children for a growing generation of artists whose rock-star fantasies were shaped from late nights spent scrolling soon-to-be-shuttered blogs.
The Rolling Thunder Revue: The 1976 Live Recordings picks up four months after 2019’s