Gayle Young/Robert Wheeler

from Grimsby to Milan

Farpoint, 2025

9/10

Listen to from Grimsby to Milan

The American synthesist Robert Wheeler is joined by Gayle Young for 6 experimental and artistic tracks that defy classification.

“Seaweed Slowly Shifting” starts with Young playing her Amaranth, an instrument she invented that consists of a wooden box built with 21 steel strings and three double bass strings, in the cinematic and unpredictable 11 minutes.

“What’s Up, Puss E Cat” follows and enlists Wheeler on EML ElectroComp 101 that helps emit waves of adventurousness, while “Rabbits & Riliriks” radiates a sci-fi feel that buzzes with iconoclastic ambience.

In the middle, “Mariana Trench” is percussively strong and tinkers with playful gestures, and “Iceberg Star Chart” is indeed chilling via the ominous electronic stabs and strategic strings. “Consonant Harmony” exits, and it’s got an appeal that sometimes seems like found objects, possesses glitchy bouts and harbors an atypical rhythm.

Also included on the record is the Columbine, an original microtonal percussion instrument invented Gayle, and Wheeler’s use of a Moog Theremin. You could draw similarities to Pere Ubu, Harry Partch or Hwang Byungki here, but there is truly nothing else quite like this experience, where the duo’s combined talent is highly eccentric.

Travels well with: Sean Clarke- A Flower For My Daughter; Stef.in- Icterus II

Dory Hayley

i love evil

Redshift, 2025

9/10

Listen to i love evil

The soprano Dory Hayley brings much skill to this exceptional performance, where 5 selections by 5 Canadian performers makes for a stunning contemporary classical listen.

Disc 1 belongs to Morton Feldman’s “Three Voices”, as a trio of voices are layered with intrigue, wonder and mystery, where, across 67 minutes, the poem draws us in to its hypnotic quality as the last line emits the album title.

Jordan Nobles’ “XYZ” then radiates choral texture via the minimalist approach, while “Shadow/Light”, by Katerina Gimon, enlists live processing and field recordings for the 3 gripping segments.

Rodney Sharman’s “Scenes From Macbeth” arrives late, and offers a firm, opera fueled 4 chapters that utilize chromatic harmonies, body percussion and cinematic swells, and “How weird we must think the world is” exits with spoken word mixed with harmonics that employs contrasting voice manipulation with a gentle backdrop of reflection.

Dorley’s position as one of the leaders in Canada’s contemporary and experimental scene is further solidified here thanks to a stunning performance that highlights the creative vision of the composers with unparalleled attention to detail.

Travels well with: Valley Voice- Stars, Engines; Nick Storring- Mirante

Laura Lentz

Serendipity

Self-Released, 2025

9/10

Listen to Serendipity

The inimitable artist Laura Lentz returns with her most exploratory effort yet, where 3 major works with the Beo String Quartet discuss “good chance encounters” and the possibilities they can yield.

“Raga No. 2 Serendipity” opens with the alto flute, strings and tabla residing in a calm and soothing landscape that spends 17+ minutes emitting much warmth, and, on the back half, gets a bit frisky, too.

“Magic With Everyday Objects” lands in the middle and focuses on Svetlana Garitselova’s elegant cello, Jacob Ertl’s sophisticated piano and Lentz’s dreamy flute via the mesmerizing and flowing interaction.

The last piece, “Discrete Structures”, recruits flutes and strings that radiate a rich, awe inspiring setting that’s animated, heartfelt and unpredictable in its beauty.

A highly technical effort that’s full of reflection and thoughtful instrumentation, Lentz and company flesh out the JacobTV, Missy Mazzoli and Marc Mellits’ tracks with an undeniable grace.

Travels well with: Laura Lentz- Prismatic/Plasmonic; Laura Lentz- Jacob’s Triptych

Loren Schoenberg And His Jazz Orchestra

So Many Memories

Turtle Bay, 2025

9/10

Listen to So Many Memories

The Grammy winner Loren Schoenberg brings his orchestra to 16 tracks of previously unheard arrangements from 1936-1939 by the swing era composer Eddie Sauter

The bright and busy “Azure” opens with Warren Wolf’s mesmerizing xylophone alongside the cozy clarinets of the soothing climate, and “Nice Work If You Can Get It” follows with Matt Lee’s frisky drums that suit the playful saxophones.

“September In The Rain” arrives later on and showcases Kate Kortum’s elegant pipes amid Schoenberg’s dreamy keys, while “I Can Dream, Can’t I” benefits from John Murray’s skilled bass alongside the layered winds and brass.

Close to the end, the retro-spirit of “Roses In December” comes with an infectious energy, and “After You’ve Gone” exits with the clarinets weaving around the scrappy rhythm section and plenty of swingin’ charm.

A nostalgic effort that touches on soulful and ballad moments, too, Schoenberg and company transport us back many decades for a really fun and timeless experience.

Travels well with: Ira B. Liss Big Bang Machine- Unexpected Guests; The High Society New Orleans Jazz Band- Live At Birdland

Jake & Shelby

Learning To Love

Empire, 2025

9/10

Listen to Learning To Love

This major label debut from the pop duo Jake & Shelby surrounds the many aspects of love, where the pair deliver like seasoned vets with plenty of harmonies and rhythm intact.

Shelby’s warm voice starts with “Loophole”, as Jake’s fluid guitar and Aksel Cole’s punchy drums complement the melodies, and “mhm” follows with Micah Tawlks’ flowing bass that suits the breeziness of the dreamy climate.

Closer to the middle, the scrappy drumming and cozy guitar of “Shut Up And Kiss Me” makes great use of Josh Ronen’s synth, while “You” is a more intimate moment of poetic singing and Kevin Ray Lawson’s heartfelt bass and melodica via the romantic spirit.

“Anymore” and “Falling Out Of Love” exit the listen. The former lands in a haze of beauty and recruits atmospheric pads from Hunter Metts, and the latter allows for Shelby’s touching voice to glide alongside Henry Hafner’s graceful strings.

Both Jake and Shelby are multi-instrumentalists, and if they aren’t household names by this time next year I’ll be surprised, cause their earworm pop, emotive presence and relatable musings on love won’t take long to become smitten with.

Travels well with: Niia- V; Pleasure Pill- Hang A Star

The Man From Delmonte

Better Things

Self-Released, 2025

10/10

Listen to Better Things

The Manchester legends The Man From Delmonte return after a long hiatus, and Mike West, Sheila Seal, Martin Vincent and Howard Goody are picking right up from where they left off in the early ‘90s with their irresistible brand of pop.

The crisp and jangly “222 Charles Barry Crescent” starts with Goody’s frisky drums alongside Vincent’s harmonic guitar, and “Believe Me” follows with Bob Dinn’s bright trumpet that suits the energetic and melodic climate.

Landing in the middle, the breezy and playful “The Number One” allows for Mike West’s animated voice to shine alongside a dance floor ready mood, while “Every Time” showcases Seals’ skilled bass and Dinn’s well timed flugelhorn in both soft and fuller bouts.

Getting close to the end, “Ugly Part Of Town” carries a poetic quality that brings harmonica to the folk-rock nods, and “Lebanese American” exits with West’s cozy acoustic guitar and lively hand clapping that also recruits a charming guitar crunch.

An incredible comeback album, the is indie-rock at its finest, where every song is the best song you’ve heard lately and will want to hear again, immediately.

Travels well with: Serious Child- What Lies Beneath; Chris Cleverly- Broadcast The Secret Verse

Miles Kane

Sunlight In The Shadows

Easy Eye, 2025

9/10

Listen to Sunlight In The Shadows

The UK rocker Miles Kane brings us a guitar driven effort where Dan Auerbach handles production across 12 tracks that are lush, raw and hook filled.

The fuzzy and dense “Love Is Cruel” starts the listen before calming down for Kane’s expressive singing alongside the retro-rock spirit, and “Electric Flower” follows with crisp drumming and soulful singing that’s got plenty of melody.

“Always In Over My Head” arrives later and is a gentle moment of dreaminess that’s heartfelt, while “Without You” brings rhythm and grooves to the bright textures and sing-alongs.

“I Pray” and “Walk On The Ocean” exit the listen. The former is the best tune present and pounds with intensity and harmony that has Kane pleading amid the driving climate, and the latter mesmerizes us with its guitar acrobatics and strategic repetition that’s laid back.

A really fun effort that touches on Brit-rock, alt-pop, glam-rock and garage rock, Kane knows his way around a guitar and he’s got a set of pipes that you won’t soon forget across this timeless record.

Travels well with: The Vaccines- Pick-Up Full Of Pink Carnation-; Rival Sons- Darkfighter

Jerilyn Jorgensen/Cullan Bryant

Schubert: The Sonatinas For Piano & Violin

Albany, 2025

9/10

Listen to Schubert: The Sonatinas For Piano & Violin

The pianist Cullan Bryant and violinist Jerilyn Jorgensen come together to flesh out these 3 involved selections that illuminate Franz Schubert’s work at a pivotal point, where he leaving the constraints of teaching for a life focused on music.

“Violin Sonata in D Major, D. 384” opens with the keys and strings interacting with elegance across 3 segments of melodic, vivid and elegant songwriting.

In the middle, “Violin Sonata in A Minor, D. 385” uses 4 chapters to radiate the captivating violin patterns and agile keys that are executed with much richness, complexity and timelessness.

“Violin Sonata in G Minor, D. 408” exits, and it’s an animated and meticulous display of fascinating chemistry between the pair, where softer moments enter, and are much appreciated.

Jorgensen and Bryant work together sublimely, where they illuminate the distinct textures and careful lyricism that captures the spirit Schubert’s early chamber style amid the Romantic era.

Travels well with: Dallas Chamber Symphony- Chasing Home; Nicholas Goluses- Across The Horizon

Kevin Sun

lofi at lowlands

Endectomorph, 2025

9/10

Listen to lofi at lowlands

The always impressive saxophonist Kevin Sun returns with a 2nd installment of his live jazz meets post-production tinkering, and he’s got Walter Stinson and Kayvon Gordon along for the festivities.

“banshees” opens with a very curious mood, where animated sax and Gordon’s lively drumming help make for an avant-garde setting, and “gorgonry” follows with ambience and droning amid the unpredictable music.

Further along, “the scars in a gaze” blends rich sax, scrappy drumming and Stinson’s atypical bass in a way that nearly seems sci-fi, while “come the floodwaters” shuffles quickly, where the trio’s interaction carries a rhythmic energy.

Moving closer to the end, “floral deceit” focuses on the busy bass playing in a raw setting, and “time-warped blues” exits with much chemistry and improvisation as the 3 players all use their skills in exciting and timeless ways.

A fascinating listen that balances noise with atypical jazz exploration, Sun and company flesh out a more focused and meditative outing this time and it’s much appreciated.

Travels well with: Nick Joz- Hieroglyph & Stuttering; Prawntail- Prawntail

Nick Joz

Hieroglyph & Stuttering

Endectomorph, 2025

9/10

Listen to Hieroglyph & Stuttering

The experimental bassist Nick Joz pens his most adventurous album yet, where inspiration from the abstract poet Susan Howe is present across the 12 unclassifiable tracks that welcome Joanna Mattrey, Peter Evens, John McCowen and Mark Gardner.

“stuttering (1)” starts with the manipulates winds and brass meeting at a very unpredictable intersection that radiates tremendous harmonics, and “stuttering (2)” follows with viola stabs adding much intrigue to the strategic noise.

In the middle, “hieroglyph (b)” comes with a cinematic quality via Gardner’s electronic gestures amid McCowen’s ambient clarinet, while “stuttering (4)” flirts with sci-fi nods that unfold via strong detail.

Getting close to the end, “stuttering (6)” is a bit chilling, as Evans’ trumpet and Joz’s cello make an impression, and “hieroglyph (e)” exits with a nearly meditative droning that’s both soothing and atypical.

The acoustic versus electronic ideas meet here with much intrigue, where free improvisation is turned into a refined science which tweaks jazz sensibilities in unconventional ways.

Travels well with: Prawntail- Prawntail; Kevin Sun- Quartets

Ragawerk

Nila

o-Tone, 2025

9/10

Listen to Nila

The duo of Max Clouth and Martin Standke, as Ragawerk they mesh Indian ragas, European-influenced jazz and Krautrock into these 10 worldly tracks that enlist some guests.

The title track opens with ambience alongside Standke’s skilled drums and Clouth’s radiant guitar tone, and “Shyam” follows with Vroni Frisch’s light bass that suits the reflective and dreamy climate.

Halfway through, “Computerwelt” brings grooves and richness to the equation amid some processed vocals, while “Blue P.” is strong on atmosphere that swirls with the charming rhythm section and meticulous guitar playing.

Landing close to the end, “Charukeshi” carries an infectious energy that makes great use of Robert Schippers’ animated keys, and “Blue P. Reprise” exits with a hypnotic presence that blends electronic stabs with worldly melodies.

A fusion effort like few others, BC Manjunath’s mridangam, Peter Hinz’s tabla and vocals by Sophie-Justine Herr and Shruti Ramani are also in attendance for the inimitable occasion.

Travels well with: Ubunye- Tell Me The Truth Or Don’t Tell Me Anything; Yakir Arbib/Conti Bilong- Afro Baroque

Ubunye

Tell Me The Truth Or Don’t Tell Me Anything

33, 2025

9/10

Listen to Tell Me The Truth Or Don’t Tell Me Anything

The Afro-jazz ensemble Ubunye bring plenty of musicians to these 10 tracks that blend modern jazz, Afro-pop and traditional ‘Isigqui’ Zulu music.

The animated “Hey Now” opens with frisky vocal acrobatics and Aaron Wood’s glowing trumpet that helps emit much energy, and “On The Road” follows with David Evans’ swirling keys and Steve Hanley’s flowing drums amid soulful singing.

Halfway through, “Today” benefits much from Emma Johnson’s animated sax that suits the vocal harmonies, while “River Flow” is a busy yet meticulous album highlight where Sam Dutton-Taylor’s bass won’t unnoticed.

“In The Sitting” and “Hymn” exit the listen. The former is a bit more reserved alongside Dave Hassell’s lively percussion and rumbling keys, and the latter enlists Maja Bugge’s cello for the intimate and dreamy finish that layers the singing superbly.

The voices present belong to Xolani Mbatha (baritone), Nokuthula Zondi and Michelle Scally Clarke (poetry), and they sure do help make this a worldly and fusion filled effort that ends entirely too soon.

Travels well with: Yakir Arbib/Conti Bilong- Afro Baroque; Ragawerk- Nila

Yakir Arbib/Conti Bilong

Afro Baroque

Elsden, 2025

9/10

Listen to Afro Baroque

The inimitable artists Yakir Arbib and Conti Bilong come together for these fusion songs that embrace plenty of culture and rhythm.

“Ngola And Ekang” opens with Bilong’s frisky percussion and soulful pipes alongside Arbib’s animated keys that emit much melody, and “Wana So” follows with a soft mood thanks to the cozy keys, as the setting builds into a quicker pace that’s full of grace and expressive singing.

In the middle, “Mout Binam Nou” finds an intimate place to reside via the emotive piano and heartfelt singing, while the title track is a bright bout of dynamic and harmonic songwriting that you can’t not admire.

“Stuck In Dagestan” arrives late and illustrates precise interplay from the duo with crashing drums and firm keys and “Barbes Rochechouart” exits soft and poetic via the gentle keys.

Yakir is actually blind but certainly plays with an unparalleled skill, and Bilong’s incredible drumming was honed in Manu Dibango’s band. Together, they birth traditional rhythms from central Africa and the Middle East and sprinkle in Baroque and jazz sensibilities in a way that few others could.

Travels well with: Estraven- Ignored Advice; Ragawerk- Nila

Dominick Argento

The Voyage Of Edgar Allen Poe

BMOP/Sound, 2025

9/10

Listen to The Voyage Of Edgar Allen Poe

The Boston Modern Orchestra Project fleshes out the debut of Dominick Argento’s The Voyage Of Edgar Allen Poe, where the 2 act work unfolds across 2 discs of detailed musicianship.

“Prologue: A Dock In Richmond” opens with the soaring voices amid sparse instrumentation, and the following 5 scenes emit flowing strings, expressive singing from baritone and soprano pipes and vivid storytelling in both bare and fuller moments.

“The Lecture” exits the first half, and in 13 minutes it moves with sophistication and grace via plenty of vocal layering.

Disc 2 offers us 5 scenes that utilize mesmerizing keys and intimate strings initially, before the animated winds and rich radiates emits firm gestures. “Epilogue: A Dock In Baltimore” exits, and it’s a dreamy finish with colorful voices illuminating the rich landscape.

The ensemble do justice to Argento’s vision, where Peter Tantsits’ role as Poe and Gil Rose’s conducting keeps us involved from beginning to end.

Travels well with: Lontano Ensemble- Choctaw Places; April Clayton/Miguel Del Aguila- Torrential Raindance

RED32

Cryogenic Dreams

Self-Released, 2025

8/10

Listen to Cryogenic Dreams

An outfit with some excellent and esteemed musicians, Red32 don’t sit in any single category, but will certainly impress anyone with an affinity for pop and rock with these 9 diverse tunes that surround the idea of leaving the planet we made uninhabitable and searching for a new one.

“Continuum” starts the listen with Anthony Romero’s playful keys that suit Steve Bonino’s flowing voice in the melodic, prog-rock climate, and “Outer Limits” follows with a dense buzzing, where Jimmy Keegan’s firm drumming won’t go unnoticed.

“Face Of Sorrow” and “After The Disaster” land in the middle. The former places Romero on spoken word, as Bonino’s skilled bass adds much power to the album highlight, while the latter carries an ominous mood that benefits from Eric Confer’s dense guitar.

Further still, “Our Resting Place” is highly melodic, where the scrappy rhythm section contrasts with the emotive keys and heartfelt singing, and “Find A New Home” exits with a driving pace that makes great use of Robert Schlindler’s fluid keys and cryptic spoken word.

A really progressive, artistic and ambient effort, the lyrics are just as well thought out as the music, and for those with an ear for modern prog sounds, well, Red32 just might be your new favorite band.

Travels well with: Oak- The Third Sleep; Meer- Wheels Within Wheels

Pavey Ark

More Time, More Speed

Self-Released, 2025

9/10

Listen to More Time, More Speed

The Hull-based folk collective Pavey Ark impressed me with their debut, and this 2nd album continues that trend with a concept effort that surrounds time and how it bends, distorts, and shapes our lives,

“Out Of Here” opens with strings and guitars making for cozy textures amid Neil Thomas’ distinct and inviting vocals that cultivate a unique haze of folk, and “Epoch” follows with Christina Waldock’s elegant cello and Kieren Iannidinardi’s well timed trumpet that suit Thomas’ expressive voice.

In the middle, “The Devil’s Time” offers a soft and eloquent moment thanks to Oliver Clark’s strategic viola, while “Your Sweet Time” is layered beautifully alongside Freya Fletcher-Tomlinson’s cello and Sophie Iannidinardi’s sax.

“Time Is A Burning Wheel” arrives late and enlists Simon Neligan’s well timed French horn to complement Thomas’ poetic singing, and “Atoms” pairs the mature piano with Thomas’ heartfelt pipes.

Thomas plays the bulk of the instruments here, and the help he takes emits much sophistication and strong attention to mood, where finger-picked guitar, light brass and the orchestral backdrop create a unique and memorable version of indie-folk.

Travels well with: Pavey Ark- Close Your Eyes And Think Of Nothing; Salim Nourallah- See You In Marfa

Lucy Kruger & The Lost Boys

Pale Bloom

Unique, 2025

9/10

Listen to Pale Bloom

The Berlin outfit Lucy Kruger & The Lost Boys return with a 7th album, where their eclectic approach touches on memory and childhood mythology.

The soft ambience of “Bloom” opens the listen with gentle guitar alongside Kruger’s mesmerizing voice, and “Damp” follows with Reuben Kemp’s thick bass that suits the strong attention to atmosphere that’s a bit dreamy and even flirts with post-rock.

In the middle, “Nectarine” floats with a gentle nature via the cozy guitar and poetic singing, while “Reaching” recruits Gidon Carmel’s skilled drumming that complements the both calm and thicker bouts of alt-rock meets dream-pop.

“Anchor” and “Fawning” exit the listen. The former is vocally expressive and enlists grooves and rhythm, and the latter uses ambience strategically amid the pop gestures and pensive melodies.

Somewhere between dark-folk, art-pop and noise-rock, every moment here is engaging, raw and sonically intriguing.

Travels well with: Yndling- Time Time Time (I’m In The Palm Of Your Hand); Louie Blue- Blood & Bones

Igor Lumpert Quartet

Resistance Of The Earth

Ears & Eyes, 2025

9/10

Listen to Resistance Of The Earth

The Slovenian tenor saxophonist Igor Lumpert is joined by Leo Genovese, Drew Gress and Damion Reid for these 9 atypical jazz songs that were recorded in just 1 day after a single rehearsal.

“Resistance Of The Earth” starts the listen with group vocals alongside Genovese’s unpredictable keys and Lumpert’s rich sax, and “Sures” follows with warm piano and soulful sax that emits much melody amid Reid’s agile drums.

“Vinku (For My Father)” lands in the middle and is an adventurous moment of textured grace, while “Panonian” radiates harmonic ideas thanks to the meticulous sax and Gress’ intricate bass lines that are full of color.

“Choir Song” and “Blues For Code Talkers” exit the listen. The former has Lumpert handling accordion, too, via the mesmerizing album highlight, and the latter showcases the cautious rhythm section, mature keys and animated sax.

The album takes inspiration from natural disasters and also embraces a spiritual intensity, where personal or ecological symbolism are injected into each enlightening and memorable track.

Travels well with: Jim Piela- It Comes With The Territory; Ben Zucker’s 5th Season- Semiterritory

The 21st-Century Orchestra

Music From Brown University

New Focus, 2025

9/10

Listen to Music From Brown University

The 21st-Century Orchestra celebrate the evolution of symphonic writing of modern times via the lens of the work of 4 composers on faculty at Brown University with these 5 detailed selections.

Wang Lu’s “Surge” opens with the dense percussive sounds and the tense strings that make for an animated climate, and Lu’s “Voices Of The Orchard” follows with both cautiousness and exploration, where the winds get quite frisky.

Joseph Butch Rovans’ “Scattering” lands in the middle and offers a booming presence that’s cinematic in nature and isn’t short on rich horns and even recruits electronics, while “Volta”, by Anthony Cheung, emits busy textures and occasionally softer bouts thanks to the collage of ideas and cathartic sensibilities.

Eric Nathan’s “In Between II” exits, and it often mimics that sounds of nature alongside the ambience and harmonic swells of a highly meticulous finish.

A really precise exercise in modern classical sounds, each composer brings a distinct vision to a superb performance by The 21st-Century Orchestra.

Travels well with: Steven Ricks- Mythological Fragments; Daniel Strong Godfrey- Toward Light

Alice Howe

Visions

Know Howe, 2019

8/10

Listen to Visions

Although this is Alice Howe’s first album, you certainly wouldn’t know it based on the strength of the songs here and her commanding, comforting vocals that guide tunes influenced by ‘60s and ‘70s folk music.

“Twilight” starts out the listen with a bright country/folk tune where Howe’s strong pipes soar, and “Lovin’ In My Baby’s Eyes”(Taj Mahal) follows with plenty of pop influence in the romantic tune. Elsewhere, “Still On My Mind” brings us closer to country sounds, while “Bring It On Him” is an emotive and restrained moment of warm beauty.

The back half of the listen brings us the lush “Too Long At The Fair”, and the soulful “Honey Bee”, both of which are meticulously executed, and near the end “You Just Never Know” offers some twang in the pretty tune. Howe ends the listen with Bob Dylan’s “Don’t Think Twice, It’s All Right”, where the classic track becomes sparse and far less rugged in Howe’s gorgeous vision.

Howe is accompanied by Freebo, who also produced the album and co-wrote some of the tunes, on many tracks, and together they take nods to the early days of folk sounds as well as incorporating modern ideas into this easily enjoyable and often uplifting debut record.

Travels well with: Mindy Gledhill- Anchor;Erin McKeown- Manifestra