If you are looking for an amazing show this weekend and want to support a great cause, go to the...
French EDM darlings Justice are back, patented Cross-aesthetics and all, with "Neverender," fresh off their newly released album Hyperdrama. Bolstered by the the tantalizing addition of psychedelic synth-pop king(s) Tame Impala (brainchild of Aussie indie maestro Kevin Parker), the two have delivered a glossy, classic slice of electronica tailor-made for the dance floor.
Kicking down the door into Looking Glass War's ambient, energetic aural world, "Arrive!" does just what it says on the tin.
Track of the Week: Jesus The Dinosaur, “Empty Space” Boston indie-folk quintet finds peace in the places only they can...
On "Reincarnated," past and present, characters and archetypes, author and invention all blend together from verse to verse and scene to scene, shifting into each other with the logic of a dream.
Robert Ellis Orrall,“Where Do We Go From Here”Fixation RecordsRelease Date: March 27, 2026 There is a specific kind of songwriter...
"Schedule I," much like its parent album, is an unadulterated expression of Norman Sann's sharp, consistently refreshing approach to the rap game. Even when tackling topics as well-documented in the genre sphere as attraction or popularity, Sann never falters in wielding language like a saber, with a keen command of wordplay refined to an acute edge.
While contending with staple album-mates like "Superman Lost" or "Easy" for primacy, its on "Only For You" that Damage Control most readily proves its creators' brilliance in crafting delightfully sonorous, irresistibly sleek, deceptively expressive EDM.
Fuzzed-out guitar licks drip over a strutting, lascivious beat while Kane channels Marc Bolan's sultry croon in an ode on a botanically-dubbed lover, all wrapped up in a warm layer of saturation that recalls both retro recordings, and the scores of present-day tracks made to invoke that same analog aura.
While one hopes in light of it's rediscovery that somewhere, somehow there might still be more great music waiting to be found, buried in the annals of time. That said, should this indeed be the last word of Wolfgang Amadeus Mozart to time immemorial, then its a fitting, if quiet, one - no great Requiem Mass or seminal Opera Buffa, just one last little treat from one of the most effortlessly luminous musical imaginations in recorded history.
"El Gato", and Copenhagen 1958 as a whole, not only serve as a time capsule for Ellington's unparalleled artistry and his orchestra's matchless stagecraft, but also as a reminder of the Duke's enduring legacy.
With a synth bass-heavy, disco-injected groove, "Houdini" evokes a a crisply contemporary take on the drum machine-driven dance floor standards of yore.