Author Archives: joshreedhughes

William Tyler & Marisa Anderson ~ Lost Futures

There is a spectral openness chipping away at the edges of William Tyler & Marisa Anderson’s debut collaborative record, Lost Futures. The respective Nashville and Portland-based guitarists flirt with the hauntological implications of our current, twenty-first century climate throughout eight

William Tyler & Marisa Anderson ~ Lost Futures

There is a spectral openness chipping away at the edges of William Tyler & Marisa Anderson’s debut collaborative record, Lost Futures. The respective Nashville and Portland-based guitarists flirt with the hauntological implications of our current, twenty-first century climate throughout eight

Ben Seretan ~ Cicada Waves

The latest record from Ben Seretan is both a radical departure from his folksy, faith-reckoning 2020 opus Youth Pastoral and yet arguably the most logical next step after such a nuanced examination of personal spirituality. Recorded during a two week

Ben Seretan ~ Cicada Waves

The latest record from Ben Seretan is both a radical departure from his folksy, faith-reckoning 2020 opus Youth Pastoral and yet arguably the most logical next step after such a nuanced examination of personal spirituality. Recorded during a two week

Henrik Meierkord & Pawel Kobak ~ Marhia

The first collaboration by cellist Henrik Meierkord and house producer and flute player Pawel Kobak is a jarringly playful collection of songs that bounce from sweeping ambience to rave-ready dub breakdowns— and then back again— in a matter of tracks.

Henrik Meierkord & Pawel Kobak ~ Marhia

The first collaboration by cellist Henrik Meierkord and house producer and flute player Pawel Kobak is a jarringly playful collection of songs that bounce from sweeping ambience to rave-ready dub breakdowns— and then back again— in a matter of tracks.

Jane Ira Bloom & Mark Helias ~ Some Kind of Tomorrow

Now that we are approaching a year in isolation, there is an ever crystallizing understanding of the long term impacts of quarantine on musical creation. Without an audience, where do artists find space for interactive dialogue? How do individual musicians

Jane Ira Bloom & Mark Helias ~ Some Kind of Tomorrow

Now that we are approaching a year in isolation, there is an ever crystallizing understanding of the long term impacts of quarantine on musical creation. Without an audience, where do artists find space for interactive dialogue? How do individual musicians

Orla Wren ~ The Blind Deaf Stone

Sequestered deep in the Scottish countryside, Orla Wren composes wistful electroacoustic soundscapes that float through genres with the gracefulness of a roaming herd of cattle. His latest release, The Blind Deaf Stone, contains four longform tracks that shift through gracious

Orla Wren ~ The Blind Deaf Stone

Sequestered deep in the Scottish countryside, Orla Wren composes wistful electroacoustic soundscapes that float through genres with the gracefulness of a roaming herd of cattle. His latest release, The Blind Deaf Stone, contains four longform tracks that shift through gracious

SUSS ~ Promise

SUSS are a big city band for the lone ranger. They write music for warm car rides through the blistering American west with a self-proclaimed “Eno meets Ennio” approach that splits hairs between psychedelic wanderlust and escapist contemplation. Their third

SUSS ~ Promise

SUSS are a big city band for the lone ranger. They write music for warm car rides through the blistering American west with a self-proclaimed “Eno meets Ennio” approach that splits hairs between psychedelic wanderlust and escapist contemplation. Their third

Mary Lattimore ~ Silver Ladders

Mary Lattimore’s evocative soundscapes are too often framed by the absence of other contemporary harpists. Her previous work has been compared to both the prog folk odysseys of Joanna Newsom and neo-renaissance fanfare, two milquetoast associations that only highlight the

Mary Lattimore ~ Silver Ladders

Mary Lattimore’s evocative soundscapes are too often framed by the absence of other contemporary harpists. Her previous work has been compared to both the prog folk odysseys of Joanna Newsom and neo-renaissance fanfare, two milquetoast associations that only highlight the

David Lord ~ Forest Standards Vol. 2

Spanning 14 songs in 37 minutes, Forest Standards Vol. 2 is readily digestible to the casual, uneducated jazz listener. Parker’s work with Tortoise subtly informs the whole record, starting with the post-rock mathiness of the opener. “Cloud Ear” starts with

David Lord ~ Forest Standards Vol. 2

Spanning 14 songs in 37 minutes, Forest Standards Vol. 2 is readily digestible to the casual, uneducated jazz listener. Parker’s work with Tortoise subtly informs the whole record, starting with the post-rock mathiness of the opener. “Cloud Ear” starts with