On A La Altura: Visionary Mexican Music 1977-1999, Volume 1, a new compilation of Mexican experimental music from the latter quarter of the 20th century, the misconception that cosmic exploration is reserved for futuristic science fiction is thoroughly righted. Instead, ambient and New Age ruminations sprawl with celestial curiosity, while pre-Hispanic instruments and cinematic field recordings ground the secrets of the universe in our own verdant home-world. The result is a fascinating dialogue between ancient wisdom and Space-Age zeal, with just enough rock grooves for the body to pick up wherever your intellectual journey peters out.
Curated by the Mexican journalist Carlos “Tropicaza” Icaza and Mark “Frosty” McNeill of…
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…remastered and restored for its 40th anniversary, including five previously unreleased bonus tracks sourced directly from the original 1986 recording sessions.
About halfway through new album, We Can Rot Together, 
Historically eclipsed by the influence of the foundational post-hardcore bands from neighboring New Jersey (your Lifetimes, your Midtowns), NYC emo is enjoying a moment thanks to new-school groups like alt-pop specialists Zachshots and screamoviolence outfit OLTH. Brooklyn-based 
Named for a Ride song, England’s 
On their previous releases, San Francisco’s 
Given that 
As this album’s title implies, and her bio confirms, roots singer/songwriter 
A behemoth of an album, Trip the Night Fantastic arrives carrying the weight of big ideas, and an overriding belief in the power of community to spark social change. Built around the core chemistry of pianist Aaron Parks, guitarist Matthew Stevens and multi-instrumentalist Morgan Guerin, and delivered under the aegis of drummer, educator and changemaker 
Dan Barrett, also known for the dark ambient project Worms of the Earth, runs 
Hildur Guðnadóttir celebrates two decades of music on This Will Be Us, placing old compositions in new skins with Robert Ames and the DSO Berlin. When initially recording her first album, Mount A (as Lost in Hilderness), she set out to “involve other people as little as she could;” now she admits, “I always dreamed of having more people playing with me.” This is not to say that the new versions are the definitive or even better versions, because there is great appeal in the intimacy of her solo work, which jump-started her career. In her early years she worked with luminaries such as Jóhann Jóhannsson, Ben Frost and Múm; in later years she has become famous for her scoring work, from the award-winning Chernobyl and The Joker to this year’s The Bride! and…
On Melting Pillars of Snow, Swedish composer 
There’s something of a throwback feel to 
There’s something wonderfully old school about the hype that has propelled 
Apocalypse takes many forms on Sigil, the second record from 
British guitarist 
Musical polymath Miguel Atwood-Ferguson’s credits number more than 350 recordings. Whether playing several instruments, composing, arranging, or producing, his work has accompanied Bilal, Shafiq Husayn, Marisa Monte, Ceu, Kandace Springs, and Anderson Paak to name scant few. In 2010, he conducted and arranged an orchestra playing the music of J Dilla on Timeless: Suite for Ma Dukes. In 2023, his