FLOOD

Ideal listening for starry-eyed shut-ins.

Charged with grief and euphoria, “Rest” is a showcase for Charlotte Gainsbourg the musician.

Anyone with even a passing interest in beats, party vibes, “in the pocket” grooves, or ecstatic dancing needs to breathe this music in like the fresh air it is. 

A conversation with the benevolent monarch of warm drones and sunny tones.

The master of New Age’s two new records are prime examples of the kind of celestial trance music he has been making since the 1970s.

The bards of British folk-rock return with their first album in seven years—and an expanded sonic palette.

After seven years away, let’s hope this album of heart-wrenching soul music keeps Ted Leo up on the stage where he belongs.

The world Forsyth and his bustling Solar Motel Band are illuminating is one that is fraught with unease and a search for some kind of exhilaration.

What’s remarkable about these records in hindsight is how indebted they are to the psychedelic folk sounds of what had come around about fifteen years prior.

The ability to construct songs based on only the best parts—the hook, the acoustic rhythm guitar, the first notes of a sandblasted solo—is what keeps The Peacers operating on a higher level.

Three years on from their (also) self-titled debut, and there’s a sense that the group have evolved to incorporate a more widescreen vision.

The former Sonic Youth leader’s new LP is a five-song blast of instantly recognizable discordant guitar tones and the kind of crunchy, heady forays into punk-jam-band land that he’s been perfecting since “Expressway to Yr. Skull.”

With family life firmly in the picture, head screwed on correctly, and rangy Pavement life behind him, Scott Kannberg has delivered his strongest album-length statement.

Guy Blakeslee has never really been a wallflower when it comes to singing, but “Book of Changes” showcases his voice in a way that feels like it’s a new thing.

There is an airy, homemade weirdness to Meg Duffy’s solo debut.

The Oakland singer continues her ascent up through the R&B hierarchy.

Following a release cycle marred by breakup rumors, Sam France and Jonathan Rado have reappeared from behind the velvet curtain, and they’re more unified than ever.

Unlike his peers Caetano Veloso, Gilberto Gil, and Os Mutantes, Carlos’s music never made inroads into North American consciousness. These reissues from Light in the Attic should change that.

Much of “Cowboy in Sweden” comes across like an elegy.

Light in the Attic’s new new-age compilation turns the beam out across the Atlantic.