Tag: Above The Current

Erika de Casier, “Sensational”

The sensuousness of de Casier’s whispers and her quiet lyrical self-assurance usher us into a fully evolved world of her own making.

Darkside, “Spiral”

Nicolas Jaar and Dave Harrington crystallize what made their debut so impactful while offering enough new detours to avoid retread status.

Alice Coltrane, “Kirtan: Turiya Sings”

The composer pulls from prayerful moments with voice and Wurlitzer electric organ to awe-inspiring results.

Clairo, “Sling”

Claire Cottrill’s sophomore effort is a strong footfall out of the music industry quicksand and a way to wash the past and online naysayers away.

Lightning Bug, “A Color of the Sky”

The dream pop group’s third album finds beauty in quiet and noise, the natural and the otherworldly, change and acceptance.

A Place to Bury Strangers, “Hologram”

There’s still darkness present on the noise rock band’s latest EP, but it’s more of a shadow than an abyss.

Dean Blunt, “Black Metal 2”

At once earthy and metropolitan, “Black Metal 2” is as enigmatic as the best records in Blunt’s discography.

Various Artists, “Red Hot + Free”

Red Hot beats as it hasn’t in quite some time, pushing its participants further than you may have imagined.

Tyler, the Creator, “Call Me If You Get Lost”

Tyler shows off his progress as a rapper with a power and musicality you knew he had in him, yet feared he’d let slide.

SPELLLING, “The Turning Wheel”

Tia Cabral makes a huge instrumental and narrative leap forward on her lush new album.

Pom Pom Squad, “Death of a Cheerleader”

The band’s sophomore album balances a pop-punk grit with the complication of heartbreak.

MIKE, “Disco!”

There is glee to be found in every crevice of the Bronx rapper’s immersion in house music and bossa nova.

Japanese Breakfast, “Jubilee”

Michelle Zauner’s third album scans as a breakthrough, even though this is a band well past the breakthrough stage.

Loraine James, “Reflection”

The London-based artist plays with percussive beats with a confidence that enables her to weave seemingly unrelated textures into the same pattern.

Mndsgn, “Rare Pleasure”

The producer’s newest LP is a preservation of blissful, temporary moments that escape once you open your eyes and exhale.

81355, “This Time I’ll Be of Use”

The Indianapolis rap trio’s debut together feels like a uniquely level-header mantra for re-entering society.

Marianne Faithfull with Warren Ellis, “She Walks in Beauty”

Faithfull finds sympathetic, poetic tones and empathetic lilting melodies in the guise of producer/violinist Ellis.

The Mars Volta, “La Realidad de los Sueños”

The mega-box set gives rabid fans something to hold onto, stuffing the band’s innovative discography into an immense treasure chest.

Mannequin Pussy, “Perfect”

The Philly punks’ latest resurrects simmering ’90s punk on their five-track EP, which covers plenty of ground.

Sons of Kemet, “Black to the Future”

The jazz collective’s fourth album is first and foremost a dance record, bruising, visceral, and thrilling in its physicality.

Tony Allen, “There Is No End”

This posthumous LP is less a grand finale summing up a career than it is another piece of a greater puzzle.

Pink Floyd, “Live at Knebworth 1990”

Like the band itself, the selected arrangements are rich, bold, and magically transportive. 

Alan Vega, “Mutator”

The posthumous release from the late Suicide singer is a time capsule of the industrial sounds of ’90s NYC.

Godspeed You! Black Emperor, “G_d’s Pee AT STATE’S END!”

The ensemble’s 7th album is resistance music built off the back of the most difficult year in the modern era.

Dry Cleaning, “New Long Leg”

Florence Shaw’s biting delivery steals the show and elevates the album to great heights.

Esther Rose, “How Many Times”

“How Many Times” is pristine—you half expect the record to come with 3 fingers of bourbon and a cool summer breeze.

Floating Points, Pharoah Sanders, and London Symphony Orchestra, “Promises”

Pharoah Sanders and Floating Points have created a vintage vibe noir masterpiece for the 21st century.

Lost Girls, “Menneskekollektivet”

The debut record from Jenny Hval and Håvard Volden feels both familiar and new, sounding classical yet edgy.

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