A new compilation digs deep into stacks of jewel cases and explores an inflection point in Japanese pop music where changes in technology brought changes in sound.
Jilian Medford’s third album is bigger, brighter, cleaner, and more ambitious. Even when she’s hollering, she sounds dwarfed, standing vulnerable but unafraid amid towering emotions.
The multi-instrumentalist and composer’s concept album about Black existence cites everything while saying nothing. The record collapses under its own inertia.
Even on this brief EP, the London producer’s music is becoming more confident and idiosyncratic, moving beyond familiar club contexts in search of points unknown.
In this Rising interview, the New York singer-songwriter talks about making art out of interactions with strangers and how her experiences with the late indie legend David Berman inspired her brilliant new album.
Boosted by the YouTube recommendations algorithm, and now TikTok memes, an American-influenced strain of vintage Japanese music has become a perennial cult hit online. The trend says more about Western perceptions of the East than the other way around.
Neneh Cherry talks about the one song she wishes she wrote, “Across 110th Street” by Bobby Womack.
Clearing the lo-fi haze of her previous work, the Los Angeles-based songwriter’s third album reveals astral Americana hymns that hover somewhere between the dirt and the stars.
Drakeo’s second project of all-new material since being released from prison is more relaxed and less bitter than his first. There’s a subtext to every flex; he’s been through the wringer, and this is his time to celebrate.
Fifty-two tracks deep, this archival compendium might seem like a catch-all. In fact, it’s a chance to peek under the hood of the multi-instrumentalist’s creative process.
On their third album, Amsterdam’s finest Turkish psych revivalists add synths and drum machines to spirited ’70s standards from the Anatolian funk canon.