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