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We also want to tip our readers to our next big series, which will highlight music that sounds like spring; look for our list of the all-time Best Spring Albums, coming this April! In the meantime, we hope you enjoy our final installment of 2023’s Spring Music Preview. Our cover image is taken from Lost Tribe Sound’s Therianthrope Series, a four-disc boxed set from Arrowounds, covered below! Rock and Post-Rock
ALL HANDS_MAKE LIGHT‘s “Darling the Dawn” combines the talents of Ariel Engle (Broken Social Scene) and Efrim Manuel Menuck (Godspeed You! Black Emperor, Thee Silver Mt. Zion). The instrumental passages are expansive, decorated with cello by Jessica Moss, while the timbre is reminiscent of This Mortal Coil, especially on the closing tracks (Constellation, April 21, pictured right). And since we’re at it, it’s only fair that we mention Montreal’s Milanku, whose music fits perfectly into the Montreal post-rock canon. By the time the vocals appear, most fans will already be in love with the sound. À l’aube is out March 31 on Folivora, the massive finale streaming below. And Sigur Rós announced this week that we can expect a new studio album from them in June, their first in a decade! Somewhere between jazz and post-rock lies MultiTraction Orchestra, led by the distinct trumpet of Arve Henriksen. The septet is somewhat of a supergroup, and also includes members of GoGo Penguin (who is also about to unveil a new album), Melt Yourself Down, Sly and the Family Drone and more. Reactor One, a suite in six parts, is out April 7 on Superpang. No stranger to concept albums, Last Days offers Windscale, an emotional album inspired by the 1957 British nuclear meltdown. The album tells a story from “Folly” to “Fallout,” but never loses track of the human element (n5MD, March 24).
The self-titled debut of Les Dunes yields the classic set-up of drums, bass and guitar, referencing EitS and the slower side of post-rock. While not without crescendo, the music takes its time, with the tension in the build (Kapitaen Platte, March 24). Desert rockers Rancho Bizzaro sound more scorching than slow; Four Dead Men is preceded by the single Meteor Blast (Argonauta, March 31). Tørrfall‘s album may be self-titled, but we think they’ve missed a golden opportunity. They describe their sound as “psychedelic water music” and tag it “seasons of electricity.” Each would have been an engaging name for an intriguing album! (Den Pene Inngang, March 24). Call it art rock, noise rock, prog rock, or math rock, but the Terms album lives up to its title: All Becomes Indistinct. The duo makes a holy racket, on the verge of growing untethered, reeling it in at the last moment (Skin Graft, 21 April).
Punchy post-rock trio Arthios makes its debut with Miscible, an album that shares a happy vibe with Human Pyramids. Who says post-rock isn’t for dancing? (March 24). Pedal steel, vibraphone and flute make Mute Duo stand out in the crowded field of post-rock; there’s a bit of prog mixed in as well. The word “mute” refers only to the lack of words; the music speaks volumes, the thirteen-minute “The Ocean Door” the set highlight. Migrant Flocks is out April 14 on American Dreams. Swedish post-metal band Dimwind‘s last release was a 16-minute track on a split album. A year later the band is set to release the full-length The Futility of Breathing ~ although as one member writes, “the work turned out to hit closer to home than anyone could ever expect,” the loss of a loved one coloring the entire process (April 21). Mushroom Giant‘s In a Forest is classic and straightforward: chunky instrumental rock aimed straight at the heart (Bird’s Robe, April 28).
Folk and Post-Folk David Van Auken‘s homespun guitar provides a feeling of safety and belonging. His debut album American Harmony arrives March 24 on Debacle Records. Bill Orcutt resurfaces after a decade with Jump On It, a solo acoustic record that continues to sound like perfection. One of the early tracks, “The Life of Jesus,” is perfect for Easter (Palilalia, April 28). Guitarist Steve Gunn is joined by Bing & Ruth’s David Moore on Reflections Vol. 1: Let the Moon Be a Planet, a pensive album that launches a series of peaceful collaborations (RVNG Intl., March 31). Add vibraphone to 12-string guitar and you have Elkhorn, whose album On the Whole Universe In All Directions honors its title with four tracks named “North,” “South,” “East” and “West.” This is a rare musical combination for a duo, producing a post-folk sound (Centripetal Force / Cardinal Fuzz, April 7). Keep the guitar, drop the vibraphone, add loops, electronics, field recordings and cello, and the tone changes once more. Witness II, the sequel seven years in the making from Jan Matiz. While still warm, this entry is “mystic and foggy,” inspired by a major move and an abandoned brothel (tier.debut, April 20).
Acclaimed fiddle player Martin Hayes expand his horizons to Martin Hayes & the Common Ground Ensemble to produce Peggy’s Dream, an expresssive vision dedicated to a fallen comrade and his mother. By combining traditional instruments (piano, cello) with those less commonly heard (harmonium, bouzouki), the sound may broaden perceptions of traditional Irish music (Faction Records, March 24). The soulmate of this album may be Elijah McLaughlin Ensemble‘s III, due to the six and twelve string guitar, piano, cello, hammered dulcimer, synth and field recordings; if this were a tour bill, we’d love to see the band members trade places on set (Astral Spirits, March 24).
Jazz and Post-Jazz
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