The brevity of the music on ‘Neu’ might lie in the fact that it was first conceived for the stage. Escamilla then revisited and reshaped these four compositions as an independent body of work.

It all actually sounds quite minimalistic and complex at the same time resulting in a quite immersive musical experience.

Stewart creates the resonance he speaks about through a very delicate balance between acoustic and electronic instruments and the varying tempos he uses throughout.

You can give this album’s ambient concept any other tag you want, post-jazz or post-anything, Lionmilk does it all justice here.

Quite heady stuff, but it is the heady staff that along with its head has a tail too, making complete sense when listened to.

The results are no less than brilliant, as Kohl’s musical/sound bite kaleidoscope truly works.

‘Hiding (Reworks)’ has enough variation and personal ingenuity to make the listener ask for more, or search for the original work from this German/British pianist/composer.

At some point, babybaby_explores might reach a dilemma facing all the artists using humor in their music, like Ween or They Might Be Giants, but at the moment, they are doing quite well, thank you.

Many similar efforts can fail if they don’t create an effective balance between light and dark, but, Tan manages to create such a balance, keeping the listener in enjoyable suspension.

These four ‘improvisations’ on ‘Travel’ seem to take a definite shape and form, turning the four compositions here into something you can dub contemplative excitement.

It turns out to be an excellent high-energy package, with which the listener will not really need any high-energy drinks, ‘Sound of Kissing’ will suffice.

The EP is a sort of a preview of their upcoming album, a release to look forward to, yet containing electro-pop that is both inventive and catch at the same time.

On ‘Waste Land’, Rogowski comes up with a worthy tribute to T.S. Elliot’s poem and its fitting placement in the era of the pandemic.

Get Out obviously has a hefty social consciousness, evidenced throughout this ‘pure’ (if there is such a thing) punk album.

Luckily for her and the listeners, there is that melodic and rhythmic ebb and flow in Ward’s music that makes ‘Ribbon of Water’ such an inviting listen.

An excellent solo debut that begs more from Rowe of this type of psych-pop.

It is that kind of sound that creates an atmosphere, backed by light beats and rhythms, and includes subtle backing of acoustic instruments, something that many listeners prefer as their late-night listening.

Music that is at the same time melodic and easy to take in while still weaving in complex musical elements so characteristic of modern jazz and classical music.

Sunday leaves practically any rhythms and beats behind and goes for true mood and feel, making his music sound like true world music – something that could have originated anywhere on this planet.

What Strange Beasts manage to navigate through this psych/prog ‘beast’ with such poise and ease that makes ‘Starlight’s Castaways’ a must for all the fans of the genre(s).

You can also hear that The Zephyrs are actually trying (and succeeding) at updating not only the sound of the original band but all the musical inspirations you can sense and hear in their music—a fully successful comeback.