Patricia Brennan - Of The Near And Far [2025]

          

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A fierce expansion on the percussive focus of More Touch (Pyroclastic Records, 2022) and the addition of intricate saxophone parts made Breaking Stretch (Pyroclastic Records, 2024) a bold step forward for vibraphonist Patricia Brennan. The progression from More Touch to Breaking Stretch sounded natural, but the difference between those albums and Of The Near And Far (Pyroclastic Records, 2025) is a quantum leap into another realm. Brennan has returned with a new band, speaking with a cosmos-inspired compositional voice that defies categorization.

Nadah el Shazly - Laini Tani [2025]

Nadah el Shazly's production is perfectly in tune with the strengths of her voice. Take "Eid" for example, where the Egyptian musician loops and shifts a revolving sample of woodwinds to conjure a surreal ambiance. She is patient with words and sings in a soothing register as Sarah Pagé's graceful harp playing adds shards of light to the tune. The harp is on various tracks of Laini Tani and has a key role in the excellent title track. The spacious "Laini Tani" begins in a spellbinding fashion with a duet of harp improvising around gorgeous vocal melodies. Eventually, the harp locks into a steady rhythm, and deep drums and bass push towards an entrancing chorus.

Nels Cline - Consentrik Quartet [2025]

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Considering guitarist Nels Cline's history, it's no surprise that the music of the Consentrik Quartet occasionally has shades of rock. “Slipping Into Something” starts subtly before bursting into a drum-driven groove fit for a rock song. Tom Rainey (drums) and Chris Lightcap (bass) keep heads nodding as Ingrid Laubrock (tenor saxophone) and Cline impressively trade the limelight. The pair strike up an enthralling musical dialogue with inventive reactions and reinterpretations. The exchanges on “Slipping Into Something” are an example of the strong chemistry between Laubrock and Cline, a crucial component of the success of the Consentrik Quartet’s eponymous debut album.

Mitlon + esperanza [2024]

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esperanza spalding has made no secret of her love for Milton Nascimento’s music. Her sophomore album features a spirited rendition of Nascimento’s “Ponta de Areia” - early evidence of her strong affinity with the Brazilian legend’s compositions. After having heard Nascimento and spalding on Milton + esperanza (Concord, 2024), listening to spalding’s “Ponta de Areia” makes the album feel like something that was destined to happen. Making an album with Nascimento is a dream come true for spalding, and with how impressive Milton + esperanza is, it definitely sounds like one. 

Mary Halvorson - Cloudward [2024]

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Mary Halvorson gives a wide range of effects and musical roles to her guitar, and the result is always idiosyncratic. The guitarist's compositions have a complex, innovative edge, and Cloudward is more evidence as to why she deserves all the acclaim that comes her way. The intensity and progression of "Desiderata" is a fantastic display of her compositional and instrumental chops. The tune opens with a rock verve that dissipates into reserved trumpet and trombone melodies that the guitar tastefully punctuates. Things get hectic once Halvorson turns on the distortion and ignites the mood with an aggressive solo full of technical mastery and otherworldly effects. 

Luiza Lian - 7 estrelas | Quem arrancou o céu? [2023]

Luiza Lian's 7 estrelas | Quem arrancou o céu? has a woozy, submerged electronic style with a futuristic aesthetic. Due to this, the evolution Lian displays on the album may be ideal for fans whose favorite Lian album is Oya Tempo. 7 Estrelas has Lian and producer Charles Tixier's most prominent use of vocal effects and samples yet, and both are key to the captivating atmosphere of the album. In "Tecnicolor," a standout track that features Céu, Lian sings with an alluring metallic gloss. The track has an addicting instrumental that mesmerizingly shifts between languid waves and club-ready bounces. A catchy upbeat rhythm and smooth keys make "Desabriga" another tune with portions that could work on the dance floor. 

Minhwi Lee - 미래의 고향 (Hometown to Come) [2023]

Minhwi Lee's 미래의 고향 (Hometown to Come) has an inviting melancholy that is always in tune with its subject matter. The album features Lee ruminating on how distance contorts the essence of home. On "정거장 (The Station)," the steady haze of electric guitar and delicate keys provide a fitting ambiance for Lee to sing of the fleeting yet cyclical nature of emotional journeys. She has a gorgeous voice that is key to the success of this album, and how it lingers onto the words of "귀향 (Returning)" is one of its finest moments. There is a soft, welcoming sadness to the tune, which contemplates the feeling of displacement upon returning home. The synergy between Lee's vocal melody, tender piano, and Oki Kim's warm sax make "귀향 (Returning)" an entrancing listen. 

L'Rain - I Killed Your Dog [2023]

The music Taja Cheek makes as L'Rain is surreal and hypnotic. On the third L'Rain album, I Killed Your Dog, Cheek builds on the ethereal Fatigue by showcasing different aspects of her artistry. The title track is a beguiling, unconventional break-up tune. Cheek's warped vocals sing a slow, alluring melody with a sinister edge as the instrumentation progresses towards a mesmerizing, immersive finish. "Our Funeral," is another tune that evolves in fascinating ways as Cheek twists an ominous mantra into a deceptively addicting song over beautiful keys and sax. She channels the energy of her live show in the driving, spacey pulse of "Uncertainty Principle," which impressively crashes out with aggressive improvisation. I Killed Your Dog is a short album that is packed with a diverse range of fascinating songs. The dreamy folk of "5 to 8 Hours a Day (WWwaG)," the psychedelic rock of "Pet Rock," and the bubbly, house-infused bounce of "New Year's UnResolution" all exist and succeed on an album that never sounds anywhere near disjointed. Fatigue is a great album, but I Killed Your Dog may be the best L'Rain album. Cheek's songwriting has become catchier, and her forward-thinking, untethered-to-genre approach is better than ever.

Kris Davis - Diatom Ribbons Live at the Village Vanguard [2023]

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On February 17, 2018, pianist Kris Davis played in the second of two concerts at Harvard University to honor the late jazz pianist Geri Allen. It was a fantastic night of music worthy of Allen’s tremendous talent. Davis took the stage in various ensembles, with some featuring drummer Terri Lyne Carrington, who had also curated the concert. The formidable connection on display would prove to be educational and ideological. When Carrington was organizing tributes to Allen, she invited Davis to join the Berklee Institute of Jazz and Gender Justice, where Davis now works as the associate program director of creative development.

Ingrid Laubrock - The Last Quiet Place [2023]

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The Last Quiet Place features six adventurous compositions by saxophonist Ingrid Laubrock, who is joined by Mazz Swift (violin), Tomeka Reid (cello), Brandon Seabrook (guitar), Michael Formanek (double bass) and Tom Rainey (drums). It is a bit out of the norm to see a violin and cello added to the typical saxophone trio, and here that decision pays off in spades. The violin and cello add new possibilities to the more melodic and subtle aspects of Laubrock's compositions and play a crucial role in the more aggressive moments. Like everyone else in this sextet, Swift and Reid are formidable improvisors. When the two are not in the spotlight, they can be heard fiercely shadowing jagged motifs or enhancing the atmosphere with menacing tremolos or gorgeous melodic playing.

Tomas Fujiwara - March On [2023]

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The main attraction of March On is the title track, a towering 31-minute improvisation. There are strong juxtapositions, and how these disparate parts align and explode is a key aspect of its appeal. In the beginning, Mary Halvorson's guitar has a calm, spacey tone, but it operates in a space full of agile, angular riffing courtesy of Ralph (Alessi's trumpet. Brandon Seabrook's guitar is the perfect foil to Halvorson. In the first portion of the improvisation, his metallic echo provides an interesting contrast to Halvorson's more psychedelic effects. There are moments of extended sparsity in "March On," but ultimately, the track is a masterful exercise in building toward wrathful storms. The combination of Tomas Fujiwara and Gerald Cleaver's thunderous drums and guitar playing fit for a noise-rock album creates one of the most aggressive passages of the Triple Double discography. The sharp tone of Taylor Ho Bynum's cornet is a fine partner to the chaos and it cuts through the fray like a piercing scream. The cornet's writhing is also important in the more low-key moments, with one particular passage stepping into melancholic melodic territory courtesy of Halvorson. The musical dialogue briefly moves into some head-nodding grooves led by the drums in the second half and a knotty collective improvisation by the rest of the band that gets more complex as it progresses. The chemistry on display throughout "March On" is stunning. March On is a terrific bookend to Triple Double’s excellent March (Firehouse 12, 2022) - a highly recommended listen for fans of the contemporary avant-garde jazz scene. 

Cécile McLorin Salvant - Mélusine [2023]

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Cécile McLorin Salvant's Mélusine is the first Salvant album sung primarily in French. It is also the Salvant album with the strongest presence of African, Caribbean, and Latin American rhythms. "Dites moi que je suis belle" is a great example - Weedie Bramiah's skittish, energetic djembe playing makes a fine partner to Salvant's lovely lighthearted melodies. The last section of "Doudou" is a party driven by the rhythm section and pianist Sullivan Fortner, who plays with a vibrancy that would be at home on classic salsa records. There are stunning piano moments all over the album; Aaron Diehl's twinkling dissonance and exploratory progression throughout "Est-ce ainsi que les hommes vivent?" is a joy to listen to. Surprisingly, the album even has a bit of the baroque era on "D'un feu secret." Fortner's synthesizer warps melancholic baroque structures as Salvant, in a quasi-operatic mode with a gorgeous vibrato, shows a completely different side of her talent. Throughout Mélusine, Salvant sings with irresistible expressionism and expands her sonic palette. She's telling a story, and even if you do not speak French, you can always feel the drama. Mélusine is a wonderful album that ranks among Salvant's best work.

Björk - Fossora [2022]

                                

Björk is an idiosyncratic generational talent whose legacy in avant-pop music solidified over a decade ago. Despite this, excluding the poignant Vulnicura, the albums that have followed Medúlla have been underwhelming. Utopia was disappointing after her return to form in Vulnicura. The album is not horrible, but it tends to meander far too often and does little to justify its run time. Björk's latest album, Fossora, is darker, heavier, and, most importantly, significantly better. Fossora is not a straight-up slam dunk like Vulnicura, but it is a clear level above the rest of Björk's post-Medúlla discography, and like most of what she does, it only could have been made by her.

ShrapKnel - Metal Lung [2022]

Curly Castro and PremRock's self-titled debut as ShrapKnel made it clear that the duo is a novel strand of a particular rap lineage. ShrapKnel's sophomore album, Metal Lung, makes this all the more apparent by starting and ending with one of the pillars of this lineage: Vordul Mega and Vast Aire, who rap together as Cannibal Ox. The album begins with Curly Castro ripping through the quick shuffle of Child Actor beat in "Running Rebel Swordplay," working "in the words of the great Vordul Megallah" into relentless wordplay. Twelve tracks later, amidst the imposing crashes of "Gravity Falls," Metal Lung ends with a full-circle moment - Vordul has the last line by way of an "Ox Out the Cage" sample. 

Perfume Genius - Ugly Season [2022]

In 2020, Michael Hadreas, who records under the moniker Perfume Genius, released Set My Heart On Fire Immediately, one of the best albums of that year. Even though his previous album, No Shape, was also critically acclaimed, Set My Heart On Fire Immediately endeared him even more to fans and critics alike. Although the strength of his discography leaves this open to debate, the captivating mix of pop accessibility, vulnerability, and sensuality of Set My Heart On Fire Immediately could reasonably be called an artistic peak for Hadreas. However, given the rapturous reception of that album and how it could be a comfortable place for Hadreas to plateau, it's only natural that he may want to avoid that. To keep the listener on their toes - to explore a bit. Ugly Season is the fascinating result of that exploration - within the first 5 seconds imposing synths, strings, and fragile piano in "Just a Room" make it clear that Hadreas is walking a very different path. "Just a Room" begins ominously - Hadreas' voice is cold, buried - and then ethereal as the light peaks through the clouds. It's an effective opener that is abrasive in the context of expectations - it feels like a statement of intent. Hadreas is telling the listener to re-calibrate their expectations because he is offering a different type of brilliance this time.

Alaíde Costa - O Que Meus Calos Dizem Sobre Mim [2022]

Published on Sounds and Colours

Alaíde Costa has been singing bossa nova and samba tunes for a long time and is extremely good at it. The Brazilian's recording career dates back to the late 50s, and the slight rasp that age has given her voice works in its favor throughout O Que Meus Calos Dizem Sobre Mim. The majority of the album, which has production courtesy of Marcus Preto and Emcidia with the musical direction of Pupillo, is composed of songs written specifically for Costa. The fantastic horn and woodwind arrangements stand out in particular. Thanks to Costa's gorgeous singing, this album would still be successful in a more sparse format, and the elegance of the arrangements greatly enhances the material.

Big Thief - Dragon New Warm Mountain I Believe in You [2022]

Since most albums are not even an hour these days, it's easy to look at the relatively long 81 minutes of Dragon New Warm Mountain I Believe In You, and ask, "why?". Big Thief answers that question with their best and most diverse collection of songs. There is no clear connecting thread among these songs. The album plays like a suspiciously incredible jukebox full of folk, americana, and country-tinged music. The twang of "Spud Infinity," wherein Andrianne Lenker sings as if she always operates in country-adjacent music, shows an endearingly playful side of the band. The country of Dragon New Warm Mountain I Believe In You reaches its apex in the sweeping melodies and fiddling of "Red Moon," a very vibrant song with a notable moment of unbridled joy ("That's my grandma!").

Tomas Fujiwara - March [2022]

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The debut recording of Tomas Fujiwara's Triple Double was extraordinary. The two-drum (Fujiwara and Gerald Cleaver), two-guitar (Mary Halvorson and Brandon Seabrook), and two-horn (Taylor Ho Bynum on cornet and Ralph Alessi on trumpet) structure of the band is something rarely seen. Even in the bold avant-garde scene that Fujiwara frequents. After the release of Triple Double (Firehouse 12, 2017), Fujiwara continued to impress as a bandleader in 7 Poets Trio (Rouge Art, 2019) and alongside some of his Triple Double bandmates in other contexts: Ho Bynum's The Ambiguity Manifesto and Halvorson's Code Girl. Even with the addition of these stellar recordings, the sprawling sway between fierce competition and ingenious interplay still made Triple Double arguably the finest moment of his career. Albums of the caliber of Triple Double can be hard to follow, but March (Firehouse 12, 2022) is the opposite of a sophomore slump.

Jonny Greenwood - Spencer [2021]

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Jonny Greenwood is primarily known as the guitarist of Radiohead, but he also has a superb discography of film scores. Based on the sublime Phantom Thread, and the alluring anxiety of The Master, in many ways Greenwood was the perfect composer for Spencer. The film stars Kristen Stewart playing Princess Diana at her psychological edge, and these brilliant compositions do a fantastic job of conveying just that. 

Juçara Marçal - Delta Estácio Blues [2021]

Published on Sounds and Colours

Throughout history, the musical innovations of the African Diaspora have had a defining role in the musical identity of entire nations. Any serious look into the musical history of countries such as the United States and Brazil will show this influence. Juçara Marçal explores these parallel worlds in the title track of Delta Estácio Blues. The song mystically connects African-American blues legend Robert Johnson with his Afro-Brazilian contemporaries, Bide, Baico, and Ismael, who, among other musicians, founded the first samba school. Starting off with an acoustic guitar sample loop that eventually gives way to punchy bass, cuíca cackles and shrieks, "Delta Estácio Blues" warps the referenced tradition.