Berlin-based British composer, percussionist, and instrument maker Bex Burch was invited to spend a month in the US by International Anthem in Summer 2022. Burch immersed herself in the label’s creative community and listened to what it gave her, making field recordings and allowing There Is Only Love and Fear to emerge from the collaborations and environments she encountered.

What has the power to unite three generations around the same pleasure? Cartoon music! It's universal, from age 7 to 107, and that's what motivates Fred Pallem and his big-band of twelve musicians to work on a second opus: inventorizing melodies from different visual repertoires, without preconceptions. Finding nuggets, reawakening forgotten themes, reinvigorating the obvious.

27-year-old Tomin Perea-Chamblee is a brass- and reed-centered multi-instrumentalist, the composer and arranger of pieces with excellently thorny harmonies, an at-times reluctant musicker and enthusiastic Brooklynite (born and raised, so his admiration primarily concerns the borough’s pre-gentralification qualities), who, by day works as a bioinformatician. If you're in New York, there’s an OK chance that you’ve heard him play before, with young (jazz-adjacent) bands and musicians of some renown. Flores para Verene / Cantos para Caramina introduces Tomin as an individual artist to the wider public, and is in many ways a tribute to family and heritage. It’s music grounded in clear purpose and a gravity seemingly beyond his youthfulness, yet coloured with unexpected hues, engaging a newness and hope that lies beyond tradition’s solemnity.

Tap dancer Melinda Sullivan and pianist and composer Larry Goldings started collaborating in 2019—they met when they were both working on a musical about Margaret Sanger. Sullivan asked Goldings to help her record a retirement video for her father-in-law (who’s a fan of Goldings), of “Somewhere,” from “West Side Story,” and it was during this session that they bonded over a common love of musical theater. They enjoyed this first collaboration so much—Goldings on piano and Sullivan tap dancing on a little wooden square—that they kept doing it. Through the pandemic they would meet up and record new covers and improvisations and post them to Instagram and elsewhere, and, when venues opened back up, they started to play out live. They recorded their debut album, “Big Foot,” with Pete Min for Colorfield Records, and brought in guests like Steve Gadd, Sam Gendel, and CJ Camerieri, among others.

It’s a kind of cathartic unburying of the subconscious. It absorbs particular mytho-spiritual features of South Indian Classical and Balinese Gamelan music and perhaps bridges sonic territories between post-jazz, experimental, and ambient music. It reflects on travels to places like Chennai, (studying oral traditions of South Indian classical music) Delphi, (exploring the myths of ancient Greece) and the Dordogne valley (delving into palaeolithic cave art of southern France).

Psychedelic jazz supergroup Apifera is back for their second album on Stones Throw, Keep The Outside Open. When these musicians - Nitai Hershkovits, Yuvi Havkin, Amir Bresler and Yonatan Albalak - come together, they create a new kind of alternative jazz: a dash of prog, a twist of post-rock, and a heavy dose of psychedelia, blended with the electronic jazz they are best known for. With several vocal tracks, Keep The Outside Open showcases a new side to the group – they let their imaginations run wild, wrapping personal stories from everyday life within fantasy and fictional characters.

In recent years London has become an epicenter for experimental, visionary jazz. On this unique session, two of the finest exponents of the London jazz scene, Tamar Osborn and Al MacSween, join forces with members of the celebrated Danish psychedelic underground – Jonas Munk, Jakob Skøtt and Martin Rude – to create a heady sonic brew. On this first volume of material there’s everything one could hope for in such a collaboration: sonically it summons the free flowing euphoria of Alice Coltrane and Pharoah Sanders’ work in the late 1960s and early 1970s. But there’s also a focus on rhythmic energy and vitality that calls to mind the grooviest krautrock or electric period Miles Davis, as well as a healthy dose of electronic experiments.

The second instalment from London Odense Ensemble digs deeper into the group’s vision of what modern psychedelic jazz should sound like. Cut from the same sessions as Jaiyede Sessions vol. 1, released last summer, vol. 2 presents a more nuanced approach to the material. On this set the ensemble focuses on shorter, layered pieces – travelling from deep spiritual jazz grooves to gorgeous free-flowing minimalism to full-on acid jazz. There’s echo-drenched flutes being absorbed into layers of analog synth pads and guitars, bossa beats and double bass sequences merging with electronics. It’s an intoxicating mélange of sounds and styles, spanning wide temporal and geographical distances.

BADBADNOTGOOD have shared a new EP called Mid Spiral: Growth. It’s the Canadian instrumental crew’s fourth release of the year following the one-off single “Take What’s Given”, "Mid Spiral: Chaos" and "Mid Spiral: Order" EPs. They also contributed to the Talking Heads tribute album that’s out on Friday.

BADBADNOTGOOD have shared a new EP called Mid Spiral: Order. It’s the Canadian instrumental crew’s third release of the year following the one-off single “Take What’s Given” and "Mid Spiral: Chaos" EP. They also contributed to the Talking Heads tribute album that’s out on Friday.

Amy Aileen Wood is unaccustomed to the spotlight, which is very much by design. A calming presence in any room and a force behind the drum kit, Wood meshes her astute listening skills with an undeniable ownership of the music at hand, as illustrated in her work on Fiona Apple’s 2020 record Fetch The Bolt Cutters, which Wood co-produced.

Some records just stop you in your tracks. They resonate with you and feel instantly familiar like an old friend, even on the first listen. SOYUZ's third album ‘Force of the Wind’ is one of those records. It holds all the trademarks, beauty, and eccentricities of classic Brazilian recordings, from the 60s and 70s, that we have come to love. Think artists such as Milton Nascimento, Lô Borges, Burnier e Cartier, Arthur Verocai et al. But this record wasn’t made in Brazil and is in fact a brand-new release.

With his new album Y’Y (pronounced “eey-eh, eey-eh”), Amaro Freitas steps into a new realm of musical creation. A realm rooted in magic and possibility, and tempered by a sense of stewardship for the earth’s bounties.

Two-time ARIA Award-winning Naarm / Melbourne-based psychedelic jazz outfit Mildlife present their much-anticipated third studio album, Chorus. Following 2020’s Automatic and 2017’s Phase, Chorus arrives as Mildlife’s most optimistic record, serving as a sonic testament to the band’s unwavering adoration for the beguiling realms of 70s psychedelic and cosmic sounds. “Chorus is about a coming together of disparate elements. Not in some sort of utopian aesthetic where everything works perfectly, but in the natural flow and state of things,” shares the band’s Jim Rindfleish. “It’s about cosmic compatibility and chemistry: what makes things work? Not just what makes the band work, but what makes good music, art or love? It’s the rhythm of nature”.

Maurice Louca, one of the most gifted musicians and composers on Egypt's thriving underground music scene, announces his new album Saet El-Hazz (The Luck Hour), to be released September 24, 2021 via Sub Rosa and Northern Spy.