Roma is the fifth and final improvised recording from Keith Jarrett‘s last solo European tour of 2016. In 2018 he suffered two strokes that left him unable to play. Roma follows ECM’s releases of the other shows in the tour: Munich 2016 in 2019, Budapest Concert in 2020, Bordeaux Concert in 2022, and New Vienna in 2025.
This album contains a ten-part improvised suite, and two standards in the encore. “Part I” opens in full pointillistic motion, as Jarrett rumbles across fragmented chord voicings and interwoven single lines. It’s easy to hear this nearly 11-minute journey as spontaneous composition. There are fugue-like moments à la Bach, but the piano’s movement and intricacy move afield to embrace color, varying dynamics, and canny…
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There is an aching heart at the centre of La Roux’s return to pop music after nearly seven years. Elly Jackson is now the solitary figure in what used to be a group, taking writing, production and performing credits on her fourth album. That singularity is reflected in the personal circumstances that drove the writing of the songs on this album, for she has freely admitted Old Flames is her response to the end of a 17-year relationship.
Intriguingly, her candid quote in the press release states that “It’s a farewell to that way of behaving in love and life. And in music too,” implying her next move could be a dramatic about-turn. She is certainly capable of stylistic upheaval, for she has mastered the art of the soft pop sad banger, sidling up alongside Robyn as one of its masters.
…features the original album newly remastered, a brand-new remix of the album from the original stems by longtime collaborator Cameron Webb, studio rehearsals and outtakes from the 1985 sessions, and the complete BBC Radio 1 Friday Rock Show session from 1986.
Motörhead were always a band whose truest home was the stage, and for much of their career their studio albums felt like snapshots of a live assault rather than carefully sculpted statements.
Orgasmatron is the exception that proves the rule. Released in the summer of 1986, it arrived after three years without a studio album, a bruising legal war with their former label and a line-up upheaval that had torn up the classic power-trio blueprint. Lemmy was by then the last man…
The greatest trick the Twisted Teens ever pulled was making you think they were a garage rock band. Sure, on its scabrous surface, the New Orleans group boasts the genre’s essential qualities: no-budget production; deliciously distorted riffs that suggest pawn-shop guitars with rusted strings; and a lead singer who howls like he’s nursing a killer sore throat and has run out of lozenges. But the world was hardly lacking for good-time garage rockers before Twisted Teens came along, so how does a group that was virtually unknown a year ago now find itself signed to Sub Pop’s roster, playing big rooms with the Breeders, and getting covered by Jeff Tweedy?
You can’t discount the band’s cross-generational appeal. Millennials might see…
…The 10th album from the Tennessee rock veterans is distinctly different to its 2024 predecessor Can We Please Have Fun. While that album saw frontman Caleb Followill and co throw caution to the wind and embrace a feel-good sound, this sees them showcase their most vulnerable, stripped-back sound to date.
Originally, the record was set to carry the same larger-than-life approach that took Kings of Leon to headlining arenas and topping festival bills for years now. However, following the band having to scrap their tour earlier this year due to the singer breaking his foot, the band ultimately decided to go back to the drawing board and use the downtime to tackle some heavier subject matter that they previously pushed to one side.
Doveland invokes a place of pastoral calm, perhaps a lost corner of the American plains where folk songs might drift across the landscape. Django Django’s sixth album does eventually find its way there, but it takes a surprisingly circuitous route. Song titles like “Meteorite”, “Quicksand”, and “So Heavy” suggest something darker and more muscular. Yet just as the album seems ready to settle into heavy rock, Django Django take it somewhere stranger.
“Meteorite” culminates in a wash of space rock; “Quicksand” is built around an atonal piano motif; and “So Heavy” eventually gives way to delicate, almost jazz-like flute, and beneath it all, the drumming is frequently more jazz-inflected than the straightforward rock arrangements…
“Road trip album” usually connotes an element of escape from everyday life, but on Highway to Hell, the journey is in the ordinary and inescapable. While Emily Moales’ earlier works as Star Moles fixated on science fiction and Medieval literature, she’s come down to earth on her latest record, using stripped-back psychedelia to mythologize the mundane.
On Highway to Hell, Moales sounds looser and more confident than she ever has, exhibiting a counterintuitive control, the kind that only comes by letting go. Oftentimes, the most self-assured lyrics on Highway to Hell are the ones delivered with the least certainty. Moales makes for a sympathetic and keenly observant narrator, deeply tapped into the universe she’s at…
…Limited Edition features an additional 47 minute bonus CD of music not included on the album.
Like an alternate soundtrack to Kaneto Shindo’s 1964 Japanese horror classic Onibaba, Steven Wilson’s solo work has always taken listeners on a roller-coaster ride through a variety of themes, dating back to 2008’s Insurgentes. From inner turmoil and serial killers to ghost stories, isolation, the brutal truths of fanaticism, online shopping addiction, the search for life’s inner truth, and journeys through the cosmos, Wilson has never been an artist who allows listeners to predict what comes next.
Whether you embrace his music or find yourself struggling to connect with it, Wilson has always been willing to take risks, challenge…
Just months after Make a Sound, the first full album on his new label, Sky River Music, saxophonist Oded Tzur returns with a confident, exhilarating set of compositions. In the Arms of a True Believer reunites him with past collaborators Petros Klampanis (bass), Nitai Hershkovits (piano), and Cyrano Almeida (drums), and adds two new voices: Anais Benoit on piccolo and Corentin Morvan on euphonium. The pair brings a sprightly, intricate melodicism to the music. Longtime followers will notice this evolution right away and will likely adore it, while newcomers will find one of his most successful albums in an already rich catalogue. The cover shows a parent and young child in a close embrace, and the music matches: a heartfelt, widescreen vision of jazz, full of…
Make a Sound marks the first full release from saxophonist and composer Oded Tzúr‘s fledgling label, Sky River Music. After a pair of fiery albums for Enja Records and a string of esteemed releases on ECM Records, Tzúr sets out in a new direction with a set of tracks channeling deeply personal expression through his Indian-influenced jazz. He is accompanied on this journey by an experienced group of collaborators: Joe Martin (bass), Nasheet Waits (drums), Vanraj Shastri (sarangi), and Gilad Hekselman (guitar). Guitar and sarangi bring entirely new shades into Tzur’s growing canvas of expression, creating an album that has the pastoral ambiance of Americana and the simmering fervor of Indian classical music.
The album does not often bounce like his…
Marta Salogni and Stefano Pilia’s Phren is music of accretion. Inputs are fed through Pilia’s chain of filters and tape echo and on into Salogni’s Revox reel-to-reel tape machine for further manipulation and modulation, the signals absorbing new layers and mutations as they go. According to the release notes, that initial input is often Pilia’s guitar, but the pair’s plastic approach to sound makes that far from obvious. They telescope the act of mediation, mottling, shading and bending signals as they pass from sound source to ears.
‘Sopra l’acque scavate’ opens with distorted notes sparking like a frosty firework display. The more your ears focus, the more ambiguous those notes become. The attack and decay seem awry for a guitar, the timbre too guitar-y…
You don’t expect Chuck Roth’s music to have lyrics. The Brooklyn-based guitarist’s experimental style and broad range of techniques, especially on his latest album Texture Songs, occupy plenty of speaker space, even when the music is spacious and minimalist, so the introduction of softly sung words is surprising. Take the gnarly shards of ‘Hometown Hero’, a piece built on observations of a changing New York City, changes clearly not all welcomed. The playing is sharp and muscular in places, with heavy strums and mini high-string flexes that bring plenty of urgency. The vocals add something of a pulse, a beating heart to the sound, without demanding too much attention.
Roth has an interesting view of vocals, looking to use them to ‘decorate the border of…
Of the many elements Blair Dunlop has got right with What Still Survives, the award-winning British singer songwriters sixth full-length album, is the backbone of the sound. Bob Dylan was trying to describe something like this back in 1966 when he settled, aptly, on the phrase ‘wild mercury’. I cannot hope to improve upon that description. Still, I will, all the same, say that, aided by Ian Grimble on production duties, the combination of acoustic and electric guitars, drums and bass, with frequent embellishments by Hammond organ, pedal steel and violins, pretty much lays out a musical toolkit that can conjure the widest possible range of emotional responses. Blair has put himself and his latest batch of original songs, mostly written solo with the odd co-credit to…
The cover photo for soulful, bluesy singer/songwriter Eric Jerardi’s tenth album is a bit misleading. The Game has nothing to do with Chess or any other recreational board activity played against others.
Rather, it references the concept that inspired this often riveting dozen song collection.
Jerardi was challenged to write 12 songs in three months, one per week. The “game” was further complicated by a rule requiring him to use a prompt or a phrase verbatim within the lyrics, sent by a longtime friend. Financial penalties were levied for late submissions.
Although this seems inherently non-organic (what happens if his muse isn’t in sync?), the results are impressive. The maxims sent were…
After last year’s 50th anniversary bonanza for the score to JAWS at Intrada, one good bite deserves another! The label will reissue the out-of-print score for JAWS 2, the unlikely 1978 sequel to Steven Spielberg’s masterpiece. (Spielberg, of course, did not return, and French director Jeannot Szwarc assumed directorial responsibilities.) Once again, Amity Island contends with a great white shark problem – only this time, police chief Martin Brody (Roy Scheider) is mostly on his own against the beast, racing against the clock to rescue a marooned group of teen sailors that includes his children. Intriguingly, JAWS 2 was the first time John Williams scored a sequel, and instead of simply reprising his own work, he brings the iconic shark theme back alongside a set of…
On A La Altura: Visionary Mexican Music 1977-1999, Volume 1, a new compilation of Mexican experimental music from the latter quarter of the 20th century, the misconception that cosmic exploration is reserved for futuristic science fiction is thoroughly righted. Instead, ambient and New Age ruminations sprawl with celestial curiosity, while pre-Hispanic instruments and cinematic field recordings ground the secrets of the universe in our own verdant home-world. The result is a fascinating dialogue between ancient wisdom and Space-Age zeal, with just enough rock grooves for the body to pick up wherever your intellectual journey peters out.
Curated by the Mexican journalist Carlos “Tropicaza” Icaza and Mark “Frosty” McNeill of…
…remastered and restored for its 40th anniversary, including five previously unreleased bonus tracks sourced directly from the original 1986 recording sessions.
Wind was first issued in 1986 on Masin’s private imprint, Bear in the Moon, and marked the start of a much loved catalogue which has more recently flourished with contributions to the Music from Memory label, including a solo 2LP compilation and the Gaussian Curve album, beside his work on that first Lifted LP for PAN alongside Co la and Max D. Coming from a similar place, spiritually speaking, as the pioneering work of K. Leimer and Savant, and finding modern antecedents in the exploratory, bittersweet arrangements of Laura Groves or pretty much anything you’d hear on…
About halfway through new album, We Can Rot Together, Kill Alters drops a karaoke rendition of “Toy Soldiers,” the 1989, U.S. chart-topping ballad from teen pop star Martika. This version was recorded in 1993 and it sounds like a dusty childhood memory unspooling in a now-vintage Walkman. That this intimate recollection comes after a 20 minute digital hardcore onslaught of frenetic beats and vocals that morph from chirpy to brutal is perfect. It gives the listener a few moments of respite before the pace picks up again with a cover of the Y2K trance banger “Castles in the Sky.” By the album’s conclusion, you’ll be grateful for that breather. We Can Rot Together is exhilarating. For Kill Alters’s third album, Bonnie Baxter works solo as the project’s vocalist,…
