As Wormy, Noah Rauchwerk, the touring drummer for Samia, turns his van life into ten songs about anxiety, imposter syndrome, and "this sense of impending doom" that often shadows the good moments.
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Elujay explains how 'A Constant Charade' channels his graffiti roots, his friendship with Angus Cloud, and his belief that R&B thrives when artists keep surprising themselves and their listeners.
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Drawing on behavioral science research, Hallsworth's 'The Hypocrisy Trap' examines how false signals of consistency drive our contempt for hypocrites and what happens when accusations of hypocrisy spiral out of control.
The Montreal electroacoustic artist spent three decades distributing sound through pirate radio and public space performances before releasing 'Vowel Jams', an album that spotlights her personal vision over public appeal.
Elujay explains how 'A Constant Charade' channels his graffiti roots, his friendship with Angus Cloud, and his belief that R&B thrives when artists keep surprising themselves and their listeners.
NAMM's president shares strategies for turning students into advocates, building passion before theory, and preparing the next generation to thrive in a world that doesn't yet exist.
Producer Marta Salogni and a rotating cast of musicians joined Westerman at an 18th-century mansion on Hydra to record 'A Jackal's Wedding,' an album where high ceilings and creative limitation were as vital as the songs themselves.
Three decades into their existence, Italy's experimental metal/rock/jazz trio release 'Ferrum Sidereum,' a double-album that draws on meteoric iron symbolism, Tibetan philosophy, and the practice of creating inner silence amid external chaos.
The London pianist's 'Emotionally Suited To Be A Solo Pianist' began as a three-hour improvisation that captured winter's quieter truths about distance, solitude, and the strange calm that arrives when the world slows down.
'They Shall Take Up Serpents' marks Sublime Frequencies' first American release, with Ian Brennan documenting a West Virginia church where drumming grandmas and flatpicking guitarists enter trance states that put decades of rock posturing to shame.
The vibraphonist's 'Of The Near And Far' superimposes constellations over the circle of fifths to generate pitch collections for a ten-piece ensemble while signaling her background in orchestral percussion, alternative rock, and the chamber works of Glass and Xenakis.
Silvia Ryder discusses her album 'Monday's Child', the unconventional instruments that define her music, and how leaving Sugar Plum Fairies led her to build a new identity from Omnichords and archival film.
The Sydney saxophonist's album 'Infinity II' emerges from fully improvised sessions with no charts, no discussion, and no overdubs—what Rose describes as humanist minimalism, where four musicians function like a living system.
From producing Galaxie 500 and Low to his new ambient masterwork '...and the crimson moon whispers goodbye,' the musician and Shimmy-Disc founder reflects on spontaneous composition, the spiritual dimensions of reverb, and finally achieving his personal 'Rothko Chapel.'
Three years of sessions in São Paulo yielded 'Pequena Vertigem de Amor,' an album born from the submarine days of early fatherhood and the vertigo between extraordinary love and ordinary routine.
Jazz drummer Phil Haynes's string band Free Country reconvened after a decade to record original compositions, but hours before the first session, trumpeter Herb Robertson died, and the 2024 election delivered its verdict—the double album 'Liberty Now!' carries both griefs.
Cellist Kirin McElwain's exploratory album 'Youth' turns toward crystalline feedback, chaotic oscillators, and intentionally harsh tones to express the feelings of desire and shame occupying the same cognitive space.
Faetooth's Ari May, Jenna Garcia, and Rah Kanan reflect on the three-year writing process behind 'Labyrinthine', a bold album that pushes doom metal toward greater abstraction without sacrificing ethereality.
Just intonation brought together two generations of experimental musicians for 'Extended Field,' an album that nimbly negotiates Horse Lords' mathematical expansiveness and Arnold Dreyblatt's tightly controlled harmonic universe.
The BAFTA-winning composer traces his parents' displacement from Colombia and Cuba across two albums, 'Manu' and 'La Marea', blending string orchestras with techno's rhythmic complexity and the "magical realism" of Latin American folk traditions.
The cellist and composer discusses her album 'Various Small Whistles and a Song,' a collection of field recordings that transform voting lines, train stations, and strangers' whistles into intimate sonic portraits of daily life.
The innovative composer discusses 'Broadsides,' an electroacoustic project set in the American South that treats traditional instruments as loaded cultural objects while pushing back against regional homogenization.
Cultural historian Graham St. John's 'Strange Attractor' chronicles McKenna's role as rogue scholar and stand-up philosopher, tracing his journey from a 1966 DMT conversion experience to becoming a disembodied voice whispering into the ears of dancers worldwide.
On 'System', Izzy Hagerup aka Prewn builds maximalist songs alone in her home studio, using 'self-indulgent' cello and multitracked vocals to process the gravity of being trapped inside something much bigger than herself.
Ondi Timoner's rockumentary follows the Brian Jonestown Massacre and the Dandy Warhols through the '90s music industry, but its most vital lesson has nothing to do with record labels—it's about the communities and collaborations that sustain bands.
Katie Ball and David Noonan explain how Just Mustard's third album, 'We Were Just Here,' pushes guitars past recognition and why growing up in Ireland's DIY scene infuses their musical ethos with attitude.
The Constant Smiles frontman discusses how 'Moonflowers' represents his return to fingerpicked folk after years of pushing against the Martha's Vineyard sounds that shaped him, and why he finally has the patience and skill to honor influences like Nick Drake.
The prolific guitarist talks about 'Trio of Bloom' with Craig Taborn and Marcus Gilmore, maintaining experimental outlets alongside two decades in Wilco, and the productive anxiety of working with wizard-level musicians.
The Antibalas trumpeter discusses how he built the album 'Resistance is Fertile' from beatbox demos, synchronized click tracks, and improvised layers, resulting in sounds that sit somewhere between Ornette Coleman and Death Grips.
Fifty years after its first publication, Marcus reflects on his landmark examination of American mythology through rock and roll, discussing Little Richard blowing away a Dick Cavett debate panel, Robert Johnson's inescapable netherworld, and why Elvis still leaves him dumbfounded.
Montreal's Yves Jarvis discusses his fifth album, 'All Cylinders'—sixteen self-performed, DIY-recorded tracks that won the 2025 Polaris Music Prize and taught him that embracing traditional songcraft opens new frontiers rather than closing them.
On their second album 'Won't Believe In Dust', the instrumental trio moves beyond the vintage country songbook that sparked their formation, embracing everything from calypso bounce to free-flowing post-bop while sharing a belief that laughter belongs in the creative process.
The acclaimed pianist reflects on a lifetime of adapting tools never designed for blind musicians, how his mother taught him that communicating feeling matters more than technical perfection, and why he believes technology's moral compass must always stay ahead of its capabilities.
The multi-instrumentalist and producer discusses his album 'Who Cares Wins,' realized during his time volunteering for the NHS, and how working with everyone from Sun Ra Arkestra to Σtella requires leaving ego at the door.
From his first encounter with 'Explorations' to writing liner notes for 'Haunted Heart: The Legendary Riverside Studio Recordings,' the jazz historian discusses how Evans, LaFaro, and Motian transformed friction into a circular, evolutionary approach to the jazz trio format.
Sam Sarty and Gilad Carroll discuss their Winnipeg roots, the making of 'Internal Drone Infinity', and how the band transforms isolation and distance into thoughtful dream pop that leaves space for memory and the quiet work of getting better.
Recording their debut album live off the floor in just seven days, the trio channels garage rock fury and Maritime folk traditions into songs that capture a regional scene experiencing its own creative renaissance.
The electronic producer discusses his sixth album 'Tremor,' a record that pulls together shoegaze, ambient drone, and club music, and features collaborations with Alison Mosshart, New Dad, and Bdrmm.
The saxophonist and woodwind specialist discusses his first solo album in over a decade, 'Looms & Legends,' which alternates between pieces that create sonic fabrics through extended techniques and those that tell linear stories through melodic narrative.
Danz CM's album 'LÄRM!' abandons pop structures for tape-saturated jams inspired by the kosmische music of '70s Germany, while her Synth History project documents the pioneers and gear that made electronic music possible.