Derby Motoreta’s Burrito Kachimba – Bolsa Amarilla y Piedra Potente
A band with names like Dandy Piranha and Machete Carrasco deliver a record far richer than their goofy alter egos let on — flamenco-rock, punk and Greek choruses included.
A band with names like Dandy Piranha and Machete Carrasco deliver a record far richer than their goofy alter egos let on — flamenco-rock, punk and Greek choruses included.
Polish art-rock band Amarok’s fifth album: gentle, beautifully arranged music, best enjoyed on days that call for something that won’t disturb your zen.
Barcelona duo Magic Brother & Mystic Sister open a tarot-themed song cycle steeped in prog-jazz, psychedelia and folk — and leave us wanting Part II.
Finnish trio Wheel’s densest, heaviest album to date: a dark, polyrhythmic record built on contrast between restraint and force.
Haishen’s debut full-length, built around Chinese mythology, is one of the most thrilling metal/prog debuts of the year — a trio that earns every one of its wild genre shifts.
Devin Townsend’s PowerNerd swings from ’80s-metal empowerment anthems to Ziltoid-adjacent electronics — an emotional record about grief, loss and getting older.
Opeth return to growled vocals on The Last Will and Testament: a dark, baroque, cinematic concept album that rewards repeat listens.
Steven Wilson’s The Overview promises a concept album but delivers a scattered, unfinished-feeling double CD — even at his worst, still essential.
Debut instrumental album from French duo Ølyp: atmospheric post-metal about ecological crisis without a single sung word, with a guest string quartet.
SUBMASQ’s (formerly Subterranean Masquerade) seventh album: Israeli progressive metal with oud, bouzouki and a guest solo from Ron «Bumblefoot» Thal.
John Mitchell closes the Lonely Robot cycle with «An Ending», sixth and last album of the Astronaut saga, with Craig Blundell on drums.
Russian Circles’ ninth album, «Nine», produced by Kurt Ballou: deliberate instrumental post-metal, no surprises but no cracks either.
Nate Amos (Water From Your Eyes) releases «The Singer in My Band» as This Is Lorelei: American pop written in fragments, from a tour van.
Boy Harsher’s first album for Atlantic Records turns their own break-up into twelve tracks that swing from dark synth-pop to western.