AM Gold 2025

Trying to sum up a year’s worth of listening is never easy. I thought I’d get ahead of the curve in 2025 and do a better job of tracking every album that stood out to me throughout the year, but instead of making the job of list-making easier, all that did was give me even more choices than usual.

Which means this year’s AM Gold is even longer than usual—200+ albums, all told—and I’ve gone back to the unranked list because last year’s task of deciding on an order was honestly a nightmare even with 100 albums. Instead, I’ve grouped it into 50 favourites, and 150+ others that are still very much worth a listen.

Bandcamp links are included wherever possible, which is the vast majority of them. I’ve also thrown a track from each album into playlists on Apple Music and Spotify. Throw ’em on shuffle and you’re sure to discover at least a few new favourites.

50 favourites: The AM’s best of 2025

Adrian Younge – Something about April III
Younge’s stunning psych-soul series takes a welcome detour to Brazil.

Alabaster DePlume – A Blade Because A Blade Is Whole
Earnest, soul-searching, ambient-leaning jazz & spoken word.

Anika – Abyss
Stripped-down, grunge-influenced art rock from the former Exploded View singer.

🇨🇦 Avi C. Engel – Mote
Drone-folk, rich and loamy, and my introduction to the haunting tone of the gudok.

Ben Morales Frost, Violetta Vicci – Forest Music EP
Downtempo neo-classical (piano, keyboards, and strings) suited for escaping into imaginary woodlands.

Bertrand Belin – Watt
Belin’s gravelly voice often reminds me of Bryan Ferry’s later work (Avonmore especially), and the music backing him isn’t worlds removed from Roxy either, but the Franco-pop underpinnings give this its own swooning sense of romance.

Black Market Karma – Mellowmaker
Big-beat psychedelia, evoking ’90s Dust Brothers productions as much as the genre’s ’60s heydey with its sing-song melodies, loping rhythms, and looping structures.

Black Taffy – Out Moon
Simple instrumental beats with lush, cinematic production. Heavy on atmosphere and more than willing to tug on the heartstrings.

Blue Lake – The Animal
A wondrous expansion of Blue Lake’s folk-kosmische sound, blending pastoral beauty and ambient folk with some of the playfulness of Pengion Cafe. Organic and unpredictable, whirling and wandering like a wayward breeze.

Brown Fang – Netherfield Lagoons
Autumnal soundscapes, pitched somewhere between the Hardy Tree and Durutti Column.

🇨🇦 Buildings and Food – Provincial Park
Ambient compositions inspired by Canadian landscapes. Not so much about buildings, then, but still nourishing. Don’t miss the excellent remix EP, too.

Cerys Hafana – Angel
A remarkable album from Welsh triple-harpist Cerys Hafana. A beautiful fusion of folk & traditional tunes with neo-classical minimalism.The songs are dynamic, living things, deeply affecting with & without Hafana’s haunting voice.

Essendon Airport – MOR
Charming minimal compositions from a reunited ’70s/’80s Aussie duo; breezy & whimsical with an air of melancholy. Slide guitar, wurlitzer, gently chugging drum machines—everything you need to float through the daily drudgery.

Felbm – winterspring/summerfall
Splitting each season into 6 songs, this 24-track concept album is a pastoral jazz triumph, and a gorgeous blend of Felbm’s interests in natural & musical cycles.

🇨🇦 Fortunato Durutti Marinetti – Bitter Sweet, Sweet Bitter
Marinetti (aka Daniel Colussi) has been planting a flag alongside esoteric Canadian songwriters like Sandro Perri, Dan Bejar, and Leonard Cohen. Storied company, but the vivid arrangements, elliptical lyrics and offbeat delivery make a compelling case.

🇨🇦 Foxwarren – 2
Shauf’s side-project gives him the opportunity for a modest reinvention, sampling and remixing his band’s contributions into wooze indie-pop delights.

Go Kurosawa – Soft Shakes
The former Kikagaku Moyo drummer/ GuruGuruBrain co-founder tackles all the instrumentaiton and production on this one. Gentler and more eclectic than KM, and more rewarding for it, especially on the Kraftwerk-ish “Autowalk.”

Gustaf Ljunggren, Emil de Waal – Mikroklima
A melodic, meandering, and marvelous set of jazz-influenced instrumentals grounded in warm, rustic tones.

Ichiko Aoba – Luminescent Creatures
It’s rare for an album to feel this gentle and this unpredictable at the same time. Chamber folk and dream pop, intricate and delicate in equal measure.

Immersion, Suss Nanocluster, Vol. 3
The gentler of Immersion’s two 2025 albums (both are excellent, but I slightly preferred this one). Suss adds ambient Americana to Immersion’s kosmische strains, the collaboration bringing out the best in both.

🇨🇦 Jairus Sharif – Basis of Unity
Questing and inquisitive spiritual jazz—genuinely spiritual, not just a genre affectation, but a real search for meaning through breath, melody, and sonic texture.

Jilk – Fix Your Heart
The closest thing to pop structures I’ve heard from Jilk, without compromising on the experimentation and musical restlessness that makes the whole project so appealing. A truly gorgeous blend of melancholy French pop, skittering beats, and ambient electronics, easily one of the year’s best releases.

🇨🇦 Laurie Torres – Après coup
Confident and tranquil ambient jazz that rarely rises above a whisper, and is all the more engrossing for it.

Loaded Honey – Love Made Trees
Channeling vintage AM-radio soul: Warm, crackling, with the occasional surprising production choice breaking it out of a nostaglic haze.

M. Sage – Tender / Wading
The audio equivalent of laying down in a bed of leaves warm and soft from the midday sun, rich scent of humus filling your lungs, comforting and consciousness-dissolving in a way I can’t quite articulate.

Magic Fig – Valerian Tea
Starts with Starcastle prog-pop arpeggios, moves through an assortment of Canterbury-adjascent soundscapes, all in all a delightfully trippy slice of warm psychedelia.

🇨🇦 Memory Pearl – Cosmic-Astral
Apparently a re-imagining of a 1970s LSD soundtrack through a nurturing new-age lens; some pronounced jazz and easy listening influences, but still a trip in its own right.

Mess Esque Jay Marie, Comfort Me
Dirty Three guitarist Mick Turner’s latest project is comfortingly off-kilter, preferring to paint around melodies and hint at structures without ever taking the obvious route.

🇨🇦 Moon Apple – Four Pillars
The Montreal musician’s first full-length in five years offers “ritualistic rhythms and tribal soundscapes for a modern era,” an electronic ode to & subversion of traditian & ritual.

Mulatu Astatke Mulatu Plays Mulatu
Astatke helped define Ethio-jazz more than half a century ago and yet this is the first of his albums I’ve heard start to finish. Truly my loss—this is warm, rhythmic, complex, and captivating. Better late than never.

🇨🇦 No Joy – Bugland
Omnivorous shoegaze, with bold production that leaves no sound left unturned. No Joy’s inspirations run from Deftones to Enya, finding no contradiction in all the disparate sources.

🇨🇦 Orbital Ensemble – Live at Gold Standard
This live album and the self-titled debut from the Toronto latin jazz/psych ensemble are both full of groovy magic, but the slightly more muscular sound gives Live at Gold Standard the edge.

Oruã & Reverse Death – Reflectors Vol. 1
A split cassette featuring Reverse Death’s first music since their 2022 debut and demos from Oruã’s Slacker (also excellent). RD’s tracks are blissful slow-flowing psych; Oruã rougher-edged and garage-y, both glorious.

🇨🇦 Patche – Mode
Not sure what to call this outside of invigorating. It reminds me of hearing Holy Fuck’s live electronics for the first time, that mix of energy and possibility. Krautrock, maybe, but aimed at the dance floor, party music refracted into abstraction.

Persica 3 – Beauty in the Noise
Cindy Lee + C86 = jangle-pop bliss. Seems simple enough, but the quality of the songwriting goes well beyond any formula.

Phi-Psonics – Expanding to One
Consciousness-expanding spiritual jazz journeys. Three separate Wurlitzers are credited, which says everything you need to know.

Piotr Kurek – Songs and Bodies
Should be instantly adopted into the space rock/post-rock canon. Floyd at their most cosmic with vocals courtesy of a garbled voicemail—and I mean that as the highest compliment.

Pneumatic Tubes – Runner’s High
A fine follow-up to 2022’s A Letter from TreeTops, bringing together kosmische synths, warm woodwinds, and new age bliss.

Polypores – Cosmically a Shambles
December’s Hungry Vortex is a bit more brash, but Cosmically a Shambles was my favourite of 2025’s Polypores releases, a masterful analog workout, clattering, whirling, and playful.

🇨🇦 Population II – Maintenant Jamais
The evolution of this Montreal trio from their initial space rock odysseys to the concise but still ambitious psych-prog of Maintenant Jamais still blows me away.

Rachel Kitchlew – Flirty Ghost
A must-listen for fans of Dorothy Ashby and the more groove-based, less celestial side of jazz harp. Elegant stuff that manages to stay on just the right side of easy listening.

Rival Consoles – Landscape from Memory
I’m never sure how to describe the Erased Tapes aesthetic, but Rival Consoles must be its apex; synthetic but deeply affecting, overwhelming in the best sort of way.

Rural Tapes – Oneiric
“Flower Labs” is pure Clay Pipe, bursting with pastoral bliss, but Oneiric roams wider grounds—”Fantasia” with its swooning vocoder, “Hypermnesia” evoking early 2000s post rock, “Lingering Souls” pure paisley pop, just wonderful.

Sanam – Sametou Sawtan
Unexpected and unpredictable, dream pop in its more jagged original form filtered through Arabic musical traditions and a drive to create new sounds. If it’s ok to call this rock then it’s one of the more vital rock records of 2025.

Sessa – Pequena Vertigem de Amor
An evolution of the impeccably arranged MPB on 2022’s Estrela Acesa, laid back grooves and unafraid of a good hook. Fans of Arthur Verocai take note.

Sewell and the Gong – Patron Saint of Elsewhere
I’m such a sucker for pastoral British electronics. Pure contentment, and followed up by a solid remix EP.

Shrunken Elvis – Shrunken Elvis
A collaboration between Spencer Cullum, Sean Thompson, and Rich Ruth that doesn’t sound much like any of them, instead drawing from krautrock and ambient jazz for something fresh and open, with an easy, unflashy virtuosity.

🇨🇦 T Gowdy – Trill Scan
Prog-influenced electronics that draw surprising connections between medieval European music, contemporary electronic sounds, and artful experimentation.

🇨🇦 Thanya Iyer – Tide/Tied
Iyer’s jazz-and-soul-inflected pop is a warm breeze: nourishing and refreshing but also a force of nature. Healing sounds for a broken age.

🇨🇦 Viviane Audet – Le piano et le torrent
Solo piano compositions, quiet and unadorned. Songs like Barlicoco evoke Satie (at least to my untrained ear), and that strain of haunting minimalism is always welcome.


Another 150 or so albums you really can’t go wrong with, especially if you’re into the general genre

Apologies for the lack of blurbs/notes on many of these, but (and I insist this is true) there is simply too much good music out there, and more keeps getting made every year. The writing may be half-baked, but the music certainly isn’t.

Aaron Fisher and Rob Stephenson – Actual Place (Ambient folk)

Action & Tension & Space – New Dimensions (Kosmische)
Spaced-out Norwegian instrumentals with strains of psych, post-rock & jazz

Akasha System – Heliocene (Electronic)
A blend of Balearic beats, breathy synths and cosmic-minded new age atmosphere; too propulsive to really be called ambient, but definitely aimed at the chillout room more than the dancefloor.

Alex Albrecht – The Arboretum (Electronic)

🇨🇦 Alex Stevens and Ethan Levy – Two Silent Passengers (Instrumental folk)

🇨🇦 Altus – Terraform (Electronic)

Ami Taf Ra – The Prophet and the Madman (Soul, art-pop)
Maximalist jazz-prog, high-concept, played without a whiff of restraint but who needs it.

Andy Bell – Pinball Wanderer (Psychedelic)

Andy Boay – You Took That Walk For The Two Of Us (Psychedelic)
Solo offshoot of the always-brilliant Tonstartssbandht

Applesauce Tears – Balcony Confidential (Dream pop)

Apta – The Pool (Electronic)
Playful, soul-soothing modular synthesis.

Astrobal – L’uomo e la natura (Psychedelic)
Modern multicultural lounge-pop, for fans of Stereolab’s kitschier side

Automatic – Is It Now? (Art-rock)
Deceptively catchy synth-driven post-punk. At times sounds like a less haunted Broadcast, thanks to the band’s ear for distorted sonic textures and hypnotic melodies, but the killer basslines and off-kilter hooks are all their own.

Babe Rainbow – Slipper Imp and Shakaerator (Psychedelic)
Effortless bubblegum psych-pop—all mild highs and sunny days

🇨🇦 Badge Epoch – Furry Worried Ape (Groove)
Solo-leaning effort from Badge Epoque Enemble’s Max Turnbull (hence the slightly different name, but thankfully very much in the same vein)

Barker – Stochastic Drift (Electronic)
Experimental electronics inspired by the chaos and randomness of the universe

Basic – Dream City EP (Art-rock)
A bit like if Durutti Column listened to more Kraftwerk but also wanted to embrace more groove

🇨🇦 Beat Sexü – Dernière Chance (Electronic)

🇨🇦 Bells Larsen – Blurring Time (Indie folk)
An indie-folk album recorded both pre- and post-transition, allowing Larsen to harmonize their past voice with their present.

Ben Lamar Gay – Yowzers (Jazz)
The title track is the apocalyptic climate change anthem I didn’t know we needed.

Bitchin Bajas – Inland See (Ambient)
Four songs, 40 minutes, and every bit as immersive as you’d hope from these BBs. A wonderfully confident album, willing to let each track unfurl, patient and unforced.

Black Milk & Fat Ray – Food from the Gods (Hip hop)

Brown Spirits – Cosmic Seeds (Kosmische)

Bryan Ferry – Loose Talk (Art pop)
Spoken-word poetry over remixed Roxy demos; surprising and mysterious

C.R. Gillespie – Island of Women (Ambient)
Warm & balmy ambient sounds, gently percussive & consistently inventive.

Cate Francesca Brooks – Lofoten (Ambient / Electronic)

Charif Megarbane – Hawalat (Psychedelic / Library groove)

Charles Webster & the South African Connection – From the Hill (Electronic / Deep house)

Chloé Antoniotti – Bouquet II EP (Ambient / Neo-classical)

🇨🇦 Cris Derksen – The Visit (Neo-classical, Indigenous)

Cristina Lord – If It All Falls (Electronic)
“Genre-fluid electroacoustic works that explores concepts of texture and identity,” per Bandcamp. Headphone candy for those of us who revel in clicks and buzzes, in other words, but also unafraid of pure melody.

Dalham – Cobra / And The Sun (Electronic)
Speculative sci-fi soundscapes that have caught the ear of Ridley Scott.

Damon Locks – List of Demands (Jazz)

Dania – Listless (Electronic / Trip Hop)
A fusion of dream pop and trip hop, with a darkness rich as black velvet. Vocals echo and dissolve, the lyrics often indiscernable or oblique, the meaning coming through in sonic textures evoking 3am streetscapes and starless nights.

🇨🇦 Daphne’s Demise – The Heart is a Garden (Psychedelic)
Cosmic Canadiana with a pleasant lofi jangle.

Deradoorian – Ready for Heaven (Psychedelic)
Pop-infused psychedelia bringing together the best elements of Deradoorian’s various musical personae.

Derya Yıldırım & Grup Şimşek – Yarın Yoksa (Psychedelic)
“Outernational” psych-pop & Anatollian folk songs

🇨🇦 Destroyer – Dan’s Boogie (Art-rock)
As evocative as you’d hope, another fine extension of the Destroyer mythos

Diablo in Alpujarras – Diablo in Alpujarras (Psychedelic)
Guitar-forward psych, groovier than the constellation over at El Paraiso but just as dedicated to the expressive potential of extended jams. Inspired by mountain hikes, and as soaring as that implies.

Dirty Projectors – Song of the Earth (Art pop, Neo-classical)
A little overstuffed and overambitious, but gorgeous nonetheless

Disiniblud – Disiniblud (Dream pop / Experimental)
Rachika Nayar, Nina Keith, and a range of collaborators creating glitchy, fractured pop soundscapes.

Dissolve in Sepia – And Also (Ambient)
Moody but optimistic ambient out of Brazil

🇨🇦 drummachinemike – I Hope This Never Finds You (Electronic)
Dark, minimal, but oddly reassuring. Has grown on me significantly with each listen.

Edena Gardens – Dispossessed (Psychedelic)
More sprawling psych jams from the good folks at El Paraiso Records.

🇨🇦 Eiyn Sof – Empyrean Death Rites (Psychedelic)
Mystical & mythical psychedelic folk

🇨🇦 Elyot – Small Dances (Experimental)

Fabiano do Nascimento – Cavejaz (Jazz)

Falls – nothing but the best for everyone (Electronic / Electroacoustic)
A four-track EP that doesn’t even hit the 10-minute mark, but still manages to be everything I want in a hit of folktronica. A bit like Bibio before Ambivalence Avenue, tape warped, beautifully played & atmospheric.

Flur – Plunge (Jazz)
Harp jazz is having a moment right now (see also: Rachel Kitchlew, Brandee Younger, a plethora of Dorothy Ashby reissues). Flur mostly land on the more spiritual/abstract side of the genre; the GoGo Penguin-ish “Bolete” being a pleasant exception.

🇨🇦 Full Moon Bummer – First Night of Summer (Indie Rock)
A new alias from Chad VanGaalen, for a more off-the-cuff creative outlet

Futuropaco – Fortezza Di Vetro Vol. II (Psychedelic)
Fuzzy & beat-driven psych-funk instrumentals

Fuubutsushi – Columbia Deluxe (Ambient / Jazz)

Golden Brown – Patterner (Cosmic American Music)

Greg Foat – 6 Days in Leysin (Jazz)

Gwenifer Raymond – Last Night I Heard The Dog Star Bark (Folk)
The British folk-horror version of Fahey’s American primitivism. A track title nodding to Jack Parsons hints at the occult atmosphere Raymond creates with tangled knots of melody & plenty of buzz.

Gwenno – Utopia (Pop)

Heal Mura – The Limited Repetition of Pleasure (Electronic)

🇨🇦 Hélène Barbier – Panorama (Indie rock)

🇨🇦 Hermitess – Death and the Fool (Psychedelic)
Heady, thoughtful freak-folk bursting with vitality. Love that cover, too.

Hilary Woods – Night CRIÚ (Dream pop)
Folk noir that fits perfectly with the Sacred Bones roster. Rarely rising above a whisper, Woods has perfected the sort of hushed that inspires you to lean in, an album witnessed through a keyhole or across a vast empty hall.

Hollie Kenniff – For Forever – The Reworks (Ambient)
Inspired ambient reworkings of an already lovely late-2024 release

Ian Boddy, Harold Grosskopf – Doppelgänger (Electronic)
Tangerine daydreams expanding the possibilities of kosmische

IE – Reverse Earth (Psychedelic)

Immersion – WTF?? (Kosmische)
Never quite matches their collaboration with SUSS from February, but by trading that album’s ambient-folk trappings for motorik jams and semi-spoken vocals, it’s easily the more instantly accessible of the two releases.

Ivan the Tolerable & Hawksmoor – Atoms in the Void (Psychedelic)
Haunted jazz, ASMR, cosmic jazz—trippy in all the right ways.

JB Dunckel, Jonathan Fitoussi – Mirages 2 (Electronic)
Mostly meditative, with some appropriately Air-y grooves along the way

Jeff Greinke – Late Rain (Experimental)
Textured & atmospheric electroacoustic compositions

Jefre Cantu-Ledesma – Gift Songs (Ambient)
Compositions so gentle they nearly don’t exist

Jelena Ćirić, Snorri Hallgrímsson, Cécile Lacharme and Oliver Patrice Weder – Tramuntana Tapes I (Art pop)
Patiently improvised dream-pop digressions

Jenny Hval – Iris Silver Mist (Art pop)
Experimental pop’s finest lyricist, in one of her more musically adventurous moods.

Jeremiah Chiu & Marta Sofia Honer – Different Rooms (Ambient / Jazz)

🇨🇦 Jonathan Personne – Nouveau Monde (Psych-pop)
Lighter/poppier psych-rock from the Corridor singer/guitarist

🇨🇦 Joni Void – Every Life is a Light (Electronic)
Given the subject matter, Void’s pedigree, and Constellation’s general vibe, this is urprisingly welcoming, but unsurprisingly idiosyncratic

🇨🇦 Joseph Shabason, Thom Gil – Mississippi River Styx (Indie / Ambient)

Juana Molina – Doga (Indie rock)

Junk Drawer – Days of Heaven (Psychedelic)

🇨🇦 Kara-Lis Coverdale – A Series of Actions in a Sphere Forever (Experimental)
Her second of three albums of 2025 is a collection of piano nocturns for the darkest hours. Elegant use of sustain and decay, notes and chords overlap, ripple, and evaporate in patient combinations.

🇨🇦 Khotin – Peace Portal (Electronic)
Glistening downtempo compositions from one of Canada’s finest producers

Kibrom Birhane – Lisané Bahir (Jazz / Experimental)

🇨🇦 King Khan and Wolf Clan Jo – Wolf Clan Jo & King Khan (Psychedelic)
Sitar-and-flute-based spiritual protest songs.

🇨🇦 Kogane, Thomas White – tomkog (Electronic)
Vibrant, bouncy, off-kilter electronic instrumentals.

Korb – Korb IV (Psychedelic)
Soundtracky psych that’s willing to get wonky, but never loses sight of the groove.

Kronstad 23 – Sommermørket (Psychedelic)

Lael Neale – Altogether Stranger (Indie rock)
Nobody else today is this good at taking rock’n’roll into the mystic.

Lake Ruth – Hawking Radiation (Dream pop)

Le Motel – Odd Numbers / Số Lẻ (Ambient)

Light-Space Modulator – The Rising Wave (Psych-pop)

Limiñanas – Faded (Psych / Dirty French Pop)

Lord of the Isles – Signals Aligned (Ambient)
I miss the poetry from 2023’s My Noise is Nothing, but the textures on this one are pure ear candy for those who like their synths hazy and distorted. “United Wire” is its best moment and mission statement; start there.

Lorelle Meets the Obsolete – Corporal (Psychedelic)
Cavernous drums, walls of feedback, towering synths, thick to the point of oppression, the production on LMtO’s latest is massive. That heft insists on your attention, a counter to the weightless algorithmic cloud.

Loula Yorke – Hydrology (Ambient)

🇨🇦 Made-Up – World Making (Art-pop)

Makaya McCraven – Off the Record (Jazz)
Four EPs recorded at different times with different lineups. PopUp Shop is the most immediately appealing to me, Techno Logic the most intriguing. Only a few songs each, but still too much to absorb in an easy sitting.

Mansur Brown – Rihla (Dream pop)
The AR Kane school of dream pop—at turns silky, noisy, hushed & grand. Rainy city streets & existential angst.

Marshall Allen – New Dawn (Jazz)
The Arkestra leader makes his solo debut at 100. Wise, radiant, masterful

Mary Sue and the Clementi Sound Appreciation Club – Porcelain Shield, Paper Sword (Jazz)

Matt McBane – Buoy (Ambient)
A buoyant balance of synthesis and strings

Mattias Uneback – Harry Garth Jones Presents Music for Love (Exotica)
Effortless pop exotica conjuring tropical expanses and easy living.

🇨🇦 Men I Trust – Equus Caballas (Indie pop)
Their second album of the year, dreamier than the first and every bit as accomplished.

Milkweed – Remscéla (Folk)
If this is folk (and they say it is), it’s one of the most unique spins on the genre you’re likely to find this year.

🇨🇦 Moat Bells – Nap Bud (Ambient)
Inspired by animal naps, Moat Bells’ latest is a bit of a snooze, but in a pleasant way. Grounding, restful, and always imaginative.

Modern Nature – The Heat Warps (Indie rock)
After a few albums seeing how diffuse their sound could get (to brilliant effect), this probably counts as forceful?

Monde UFO – Flamingo Tower (Psychedelic)
More polished than 2023’s Vandalized Statues, but still like a fractured art-pop radio transmisssion

Morgan Szymanski / Tommy Perman – Songs for the Mist Forest (Jazz)

🇨🇦 Mount Maxwell – Birds of Paradise (Ambient)

Nyron Higor – Nyron Higor (MPB / Brazilian pop)

Okonski – Entrance Music (Jazz)

Oneohtrixpointnever – Tranquilizer (Electronic)

Oono Yuuki Band – Mawari – michi, Kaze no (Post Rock)

🇨🇦 Ora Cogan – Bury Me EP (Psychedelic)

Organic Pulse Ensemble – Oppression is Nine Tenths of the Law (Jazz)
Worth it for the title alone. Fortunately the one-man spiritual jazz band is also soul-affirming.

🇨🇦 Pacific Coliseum – Voice Wave (Electronic)
Balearic/deep house from the always excellent Teen Daze

Papir – IX (Psychedelic)

Park Jiha – All Living Things (Ambient)

Patricia Brennan – Of The Near And Far (Jazz)
Jazz improvisation, new music inventiveness, neo-classical melodicism, embracing dissonance & discord but just short of outright chaos. There’s always a through-line, an inner symmetry to keep from falling apart.

🇨🇦 Peace Flag Ensemble – Everything is Possible (Jazz)
Ambient prairie jazz & post-rock for fans of Fuubutsushi

Pedro Mizutani & Skinshape – Mostrando os Dentes (Psychedelic, MPB)

Peel Dream Magazine – Taurus (Indie-pop)
Opener “Venus in Nadir” is spot-on Belle and Sebastian, but while those twee influences persist, so does the dronier indie-pop that endeared PDM in the first place. Immaculate melodies played with appealing restraing.

🇨🇦 Postnamers – City Songs (Art-pop)
Post-goth cut & paste compositions. Often discordant and unsettling, but also strangely captivating—and at times hauntingly beautiful.

Prepared – Module (Neo-classical))

Project Gemini & Wendy Martinez – Time Stands Still / Le temps s’arrête (Psychedelic)
PG always sounds like the score to an excellent forgotten film; Martinez (of Gloria) brings a different melodic sensibility, a bit like a gentler, folkier Limiñanas. Groovy Franco-psych.

🇨🇦 Proxima Psychoacoustics – Whynott (Ambient)
Nature-inspired Canadian electronics: Proxima’s most varied album to date draws from a youth spent in rural Nova Scotia, evoking the wonder of forest walks and bike rides under endless skies.

Ray Barbee – Little Postcards From Home (Kosmische)
A more mellow set from Barbee, but his albums are so sporadic I’ll take whatever I can get.

Resonating With Life – Resonating With Life (Electronic)
Space synths turned inwards, meditation aimed not at quieting the mind but opening it to the breadth of existence. That’s a lot to put on an instrumental synth album, but its optimism is very welcome right now.

Salami Rose Joe Louis – Lorings (Art-pop)
More grounded than you might expect from such a proud pop-art weirdo—but still one of the oddest pop releases of the year

Sam Prekop – Open Close (Electronic)
When it comes to modular synth, Prekop is one of the finest, and Open Close is up there with his best. Just the right balance of patience and payoff, endlessly evolving variations aiming for transcendence.

Sankt Otten – Tote Winkel (Kosmische)

Satomimagae – Taba (Folktronic)

Scholars of the Peak – Transmissions from Mother Hill (Electronic)

Sharp Pins – Balloon Balloon Balloon (Jangle pop)

SHOLTO – The Sirens (Psych / Library Groove)

Simon Pyke – Aurelume (Experimental)

Snails – Just Look Around (Indie rock)

Snakeskin – We live in sand (Dream pop)
The 2nd Beirut-based act to catch my ear this year after SANAM. Snakeskin is similarly experimental in its textures, though often brighter & more indebted to dream pop. Not all sunshine, but even at its darkest, hope remains.

Sounds of New Soma – The Story of Sam Buckett (Kosmische)

Stereolab – Instant Holograms on Metal Film (Art-pop)
Plenty of others have taken inspiration, but no one else does it quite like them.

Steve Hauschildt – Aeropsia (Electronic)
Six years and one transcontinental migration since his last release, Hauschildt’s latest picks up right where 2019’s Nonlin left off, maybe a little hazier and more ambiguous, but as rich & rewarding as anything he’s released.

Sulk Rooms – Rewilding (Electronic)

Sven Wunder – Daybreak (Easy listening)
Somewhere between library groove and easy listening (not that those poles are particularly far apart). Too sophisticated to be written off as schmaltz, but let’s say it’s at least conversant. Cinematic, openhearted, and uncynical.

🇨🇦 Teen Daze – Splashes of Colour (Electronic)

🇨🇦 Test Card – Signals (Electronic)

The Baker Fields – Frankley My Dear (Electronic)
Another dose of pastoral bliss from the label that does it best.

The Circling Sun – Orbits (Jazz)

The Cords – The Cords (Jangle pop)
Precocious talent—two teen sisters tossing out some of the best jangle-pop this side of the 1980s like it was nothing. “Yes It’s True” adds some shoegaze warble to the production, hinting at new directions yet to come.

The Cosmic Tones Research Trio – The Cosmic Tones Research Trio (Jazz)
Spiritual jazz explorations and incantations, confidently balancing invention with reassurance. The energetic “Sankofa” is the standout, but there isn’t a track here that isn’t worth some concentrated reflection.

The Laughing Chimes – Whispers in the Speech Machine (Jangle pop)

The New Eves – The New Eve is Rising (Post-punk)

The Sorcerers – Other Worlds And Habitats (Jazz)

The Sure Fire Soul Ensemble – Gemini (Soul)

🇨🇦 The World Next Door – Chaotic Mixing (Ambient)
Don’t let the title throw you, these are absolutely meticulous soundscapes (in the best way).

Thought Bubble – Mostly True (Psychedelic / Trip hop)

thruoutin – A Desolate Hue (Ambient)
Mellow, abstract, downcast

Titanic – HAGEN (Art rock)
Calling this art rock because I don’t know what else to say, but that doesn’t begin to touch on the drama, the dynamics, the effortless shifts from abrasive noise to harmonic bliss. I feel like I’ve barely begun digesting this one.

Tony Molina – On This Day (Jangle pop)

Uh – pleroma EP (Experimental)
A “wondrous coalescence of rave, pastoralism and futurism” resolving as Eno-ish pop. “I Want My Life Back” pops into my head regularly.

Vanbur – Of Becoming (Dream pop)

Vega Trails – Sierra Tracks (Jazz)

Warrington-Runcorn New Town Development Plan – Public Works and Utilities (Electronic)
WRNTDP’s urban synthscapes are never less than excellent; the optimistic “Renewal and Regenration” & the sprawling “The People Matter” are welcome additions to the plan.

🇨🇦 Wihtikow – ᐊᐦᒐᕽ (Electronic)
Darkly beat-driven shoegaze, or distorted BoC-ish electronica, or both at the same time.

Winter – Adult Romantix (Indie rock)
More muscular than her usual gossamer-gaze, but no less considered & intricate.

Woo – Music to Watch Seeds Grow By 001: Woo (Sweet Peas) (Experimental)
Patient as the title impies, one of the cult duo’s most consistent releases.

🇨🇦 Yoo Doo Right, 🇨🇦 Population II, Nolan Potter – Yoo II avec Nolan Potter (Psychedelic / Space Rock)
Space rock, psych, Zappa-esque jams, free jazz skronk — everything you want when it’s time to crank the volume and hide in a wall of sound. The kind of noisy that loops back to soothing.

More Than Words: On Instrumental Music

Originally published in the 2025 Calgary Folk Music Festival program guide. This version has been lightly edited and revised.

The joy of instrumental music has been largely forgotten by the musical mainstream.

Pop has always favoured the vocal, but there was a time when the charts at least occasionally made room for songs that were unburdened by lyrics. Think “Green Onions” and “Classical Gas,” each of which reached iconic status in the 1960s, and which evoke the spirit of that decade at least as effectively as their more verbose peers. “Axel F,” the theme from Beverly Hills Cop, topped international charts in the 1980s, its infectiously cheesy synth riff again capturing its cultural moment.

The Champs’ “Tequila,” one of the earliest chart-topping rock instrumentals (if you relax the definition to allow for its drunken exclamation) has a respectable 134 million plays on Spotify. Not quite Taylor Swift territory, but at least in the realm of Beyoncé. But now, it has been decades since an instrumental has had that kind of crossover impact.

Since 1985, the closest thing to an instrumental at the top of the charts is “Harlem Shake,” which hit No. 1 in 2013, driven by a viral dance craze and Billboard’s then-brand-new decision to count video streams towards a song’s success. Instead, instrumentals have drifted to the fringes, ignored by the masses while thriving in musical niches from post-rock to trance, bluegrass and jazz,

Not coincidentally, the genres that embrace instrumentals tend to be ones that reach for transcendence. Whether it’s the hypnotic repetition of dance music, post-rock’s extended cycles of tension and release, or the intricate, sometimes abrasive harmonic play of contemporary classical and abstract jazz, the best instrumental music aims to pierce through the rational and connect with a deeper level of perception.

Why music is capable of that kind of connection is far from obvious. There’s no rule stating that vibrating a string or buzzing your lips into a tube should be able to bring an audience to tears. There’s no physical law explaining why hitting a stretched-out hide with a wooden stick can make a crowd stand up and shake their hips. Pure music, with no lyrics to point towards a literal meaning, is about as abstract as art can get. But it is also deeply affecting.

There are many theories for why that would be. Humans are pattern-seeking creatures, and music taps into that in a major way, creating and subverting expectations in a manner our brains find irresistible. Despite early speculation that it was a byproduct of other, more useful evolution, there is increasing evidence that music predates and potentially even spawned language. Experiments have shown the profound effect music has on the limbic system, which governs pleasure, motivation, and reward; the satisfaction that comes from tapping your toes in time to the beat has deep biological roots. Rhythm, melody, timbre, and harmony connect to some of the most fundamental parts of our mental experience.

Language, on the other hand, is always a step removed from reality. Words are symbols; they refer and represent, pointing towards truths, but they aren’t the truth itself. Music doesn’t represent; it just is, and the experience of it is something that transcends words.

Which brings us to the irony of writing about instrumental music, of rationalizing something that exists outside of the rational world, of “dancing about architecture” as the old joke goes. Trying to put music into words isn’t just impossible, it’s missing the point of songs—which isn’t to understand them, it’s to experience them. To appreciate music is to be fully present in the moment, allowing yourself to be carried along the eddies and currents of a performance. It’s Taoism in miniature: the song that can be described in words isn’t the true song.

For some instrumental artists, that connection between music and spirituality is exactly the point. Calgary saxophonist and multi-instrumentalist Jairus Sharif started his current journey with the Q4DB series, “a creative therapeutic project designed for physical, emotional, spiritual and cognitive communication.” Since those initial experiments, that project has only deepened. Albums like 2022’s Water and Tools or this year’s Basis of Unity aren’t about meditation, connection and healing, they’re examples of those processes in action, expressed through breath, tone, rhythm and noise.

Yasmin Williams’ albums may not be as explicitly questing as Sharif’s, but the Virgina-born, DC-based guitar player seems every bit as inquisitive in her compositions. Her highly percussive take on fingerstyle guitar has always eschewed traditional songwriting structures, choosing instead to follow the melody wherever it takes her. The songs are inspired by events and locations in her life, expressed through pure mood—and tasteful virtuosity. Originally a strictly solo affair (she still typically takes the stage alone when touring), her latest album brings in no fewer than 19 collaborators, even the occasional vocalist, blasphemous as that may seem. But even in those cases, the vocals tend to recede into the background—the meaning is already present in the music.

If Sharif and Williams fall on the side of the seekers, there are others whose embrace of instrumental music is focussed on deeper grooves, not deeper truths (not that you can’t do both; George Clinton said “free your mind and your ass will follow,” but the reverse can work just as well). There isn’t a more pure example at this year’s festival than Empanadas Ilegales, whose members hail from Colombia, Ecuador, Argentina, and Canada, but who bonded in Vancouver through a mutual desire to make people move. Latin rhythms and psychedelic sounds are all the language they need, their spicy guitar lines and horn licks bypassing your rational defenses to penetrate straight to your motor neurons.

Los Angeles’ LA LOM are equally eclectic, if a little more laid back, pulling from a similar stew of Latin sounds along with vintage AM radio soul, surf rock, and Peruvian Chicha. Still mightily danceable, it’s more the soundtrack to a slow sway, music for wind-swept deserts or twilit tropical shores. If it’s a cliché to describe instrumentals in terms of landscape (dancing about architecture again), it’s only because songs like these are more like places than things; they envelop you, transport you, and leave you wanting to return.

Somewhere between the two poles of instrumental artists you find groups like Toronto’s Badbadnotgood and England’s Cymande. The former came together in Humber College’s jazz school, but found their hip hop-infused approach didn’t fit the school’s definition of “musical value.” Ever since, they’ve straddled the space between heady sounds and body music, striking a balance that pleases seekers and dancers alike. Cymande, meanwhile, has never been a strictly instrumental act, and their socially conscious lyrics and soulful vocals have always been part of their appeal. But they’ve also always known how to let loose with an impossibly groovy instrumental, and tracks like the funky flute-and-bongo-laden “Rickshaw” and the sprawling “Dove” from their 1972 debut are a big part of why they’re now enjoying a well-deserved reappraisal half a century after their underappreciated initial run (hip hop royalty Wu-Tang Clan and The Fugees both sampling “Dove” over the years certainly helped keep the band’s legend alive).

As Cymande shows, you don’t have to commit a vow of lyrical silence to be part of the instrumental club. The point isn’t that lyrics are somehow bad, or something to be avoided at all costs. But sometimes words are simply the wrong approach. And while instrumental music sometimes has a reputation as background noise, muzak, or chill beats to be mindlessly productive to, at its best it is capable of so much more. The charts may have forgotten the joy of the instrumental, but for those who venture further afield, the rewards are beyond words.

AM Gold 2024

I would never be so bold as to declare a list of the best albums of a given year. More music now comes out in a day than used to get released in a full year; with a field that large, it’s an act of hubris to speak with any confidence about objective standings and impartial rankings.

Instead, this is just a list of 100 101 albums that made their way to The AM in 2024 that are worth a listen if you enjoy the show’s mix of off-beat easy listening. Hosting the show is a great way to force myself to listen to as much new music as I can—but it also means I tend to listen for a particular mood, namely songs that sound good as you’re waking up on a Monday morning. That means this list gravitates heavily towards that vibe, so if you’re looking for abrasive and energetic tracks, this list isn’t that, by and large.

For the first time in many a year, the albums aren’t listed alphabetically—it’s an honest-to-goodness countdown. There are so many lists out there that it felt unfair to throw another 100 albums at you without at least some effort to help you pick where to put your attention. That said, I still fully believe music isn’t a competition and this ranking should be taken with a grain of salt. Ask me tomorrow and I might end up with a very different order; the fine gradations are arbitrary, and even the broad sweeps are a matter of mood as much as anything.

Skim through it in order from #100-#1* or just throw the playlist below on shuffle—but do make a point of checking these albums out. And an honorable mention goes to The Cure’s three-hour concert video of Songs of a Lost World and classic songs; the album is solid, but I think it works significantly better in a live format, and kudos to them for releasing such an epic performance free on YouTube.

*The Spotify playlist is missing about five tracks that weren’t in their system. All albums below link to the relevant Bandcamp page if it was available, or to Spotify if not.

100. Tomo Katsurada – Dream of the Egg

Recommended if you like (RIYL): Kikagaku Moyo, homemade psychedelia, eggs

99. Hélène Vogelsinger – Ethereal Dissolution

RIYL: Cascading modular synths, unexpected harmonies, and overwhelming sonic textures

98. Trees Speak – TimeFold

RIYL: Tangerine dreams and concise kosmische explorations

97. The Sorcerers – I Too Am a Stranger

RIYL: Upbeat Ethiojazz by way of northern England

96. Loula Yorke – speak, thou vast and venerable head

RIYL: Droning downtempo compositions, atmospheric field recordings

95. Ivan the Tolerable – Time is a Grave

RIYL: Haunted home-made psych-jazz

94. Drum & Lace – Onda

RIYL: Hypnotic ambient beats, winter landscapes

93. Church Chords – elvis, he was Schlager

RIYL: Experimental pop for weirdos and jazz heads

92. Ariel Kalma, Jeremiah Chiu & Marta Sofia Honer – The Closest Thing to Silence

RIYL: Inner journies and meditative moods

91. Lynn Avery, Cole Poulice – Phantasy & Reality

RIYL: Patient, spacious ambient jazz

90. Osmanthus – Between Seasons

RIYL: Intermingling neo-classical and experimental electronic impulses

89. Tristan De Liege – Fields

RIYL: Intricate but hazy downtempo electronics

88. Temporal Waves – Temporal Waves

RIYL: Tabla, synthwave, psychedelia, and grandeur

87. Group Listening – Walks

RIYL: Long walks through the countryside

86. Hollie Kenniff – For Forever

RIYL: Patient, melodic ambient sounds, slow builds, reverb

85. Warrington Runcorn New Town Development Plan – Your Community Hub

RIYL: Municipal planning, analog synths, ridiculous band names, ’70s sci-fi

84. Seahawks – Time Enough for Love

RIYL: New age soundscapes, gentle pulsing beats

83. Clinic Stars – Only Hinting

RIYL: The gauzest of dream-pop sounds

82. Mark McGuire – Anhedonia

RIYL: Emeralds (the band), looping guitar lines

81. Charbonneau / Amato – Enflammer le désert (OST)

RIYL: Melodic synths and vast expanses

80. The Hologram People – Isola Dei Morti Viventi

RIYL: Italian horror soundtracks, library grooves

79. Jane Weaver – Love in Constant Spectacle

RIYL: World-weary psych pop that still manages to shimmer

78. Dean McPhee – Astral Gold

RIYL: Acoustic explorations of distant galaxies

77. Miyauchi Yuri – Beta 2

RIYL: Blissfully glitchy Japanese electronics

76. p:ano – ba ba ba

RIYL: Nick Krgovich, Kellarisa, contemplative indie pop

75. Yasmin Williams – Acadia

RIYL: Joyfully melodic fingerpicked guitar

74. Jahari Massamba Unit – YHWH is LOVE

RIYL: Trippy instrumentals, Karriem Riggins, Madlib

73. Bananagun – Why is the Colour of the Sky

RIYL: Sun-baked (and otherwise-baked) psychedelia

72. Circles Around the Sun, Mikaela Davis – After Sunrise

RIYL: Harps, disco, basking in the afterglow

71. Jilk – Soft in Shape and Meaning

RIYL: Post-rock improvizations and experimental collectives

70. Retep Folo & Dorothy Moskowitz – The Afterlife Album

RIYL: Outsider electronics, ’60s psychedelia, hauntology more broadly, great cover art

69. Hawksmoor – Oneironautics

RIYL: German art-rock from decades past, Robert Fripp, feeling a little pretentious

68. Dissolve in Sepia – Spaciousness

RIYL: Jazzy genre-fluid downtempo compositions

67. Ana Butterss – Mighty Vertebrate

RIYL: Groove-based experimental music, Jeff Parker, the future of jazz

66. Molly Lewis – On the Lips

RIYL: Whistling, easy listening, exotica, more whistling

65. SHOLTO – Letting Go of Forever

RIYL: 60’s library grooves, ’70s movie soundtracks, 2000s chillout music

64. Big Brave – A Chaos of Flowers

RIYL: Folk music written by thunderclouds

63. Misha Panfilov – Frutaria Electrónica


RIYL: The very cheesiest synth sounds, getting lost in whorls and eddies of melody

62. Polypores – Unlimited Lives

RIYL: Self-contained sonic universes coaxed from modular synths

61. Beak> – >>>>

RIYL: Haunted folk, the gentler side of krautrock, Portishead, pervasive eerieness

60. Fourtet – Three

RIYL: Anything Keiran Hebden has done in the last 20 years

59. Godspeed You! Black Emperor – No Title as of 13 February 2024 28,340 Dead

RIYL: Slow builds, catharsis, walls of noise

58. Daisy Rickman – Howl

RIYL: Spooky psych-folk, Nico, drones and jangles

57. Einstürzende Neubauten – Rampen (apm: alien pop music)

RIYL: Subtle melodies, balancing abrasion and beauty, pop music made by aliens

56. Jon Hopkins – RITUAL

RIYL: Patience, subtlety, guided journies through altered states

55. Von Spar, Eiko Ishibashi – Album I

RIYL: Contemporary Japanese movie soundtracks, German art-rock, experimental sounds

54. Badbadnotgood – Mid:Spiral

RIYL: Instrumental jazz, neo-soul, soundtrack jazz, hearing people mellow out a bit

53. Erki Pärnoja – Rumba

RIYL: Playful Estonian instrumentals, tasteful little guitar licks, avoiding being too flashy

52. Unessential Oils – Unessential Oils

RIYL: Plants & Animals, Tropicalia, Canadian indie pop

51. Bibi Club – Feu de garde

RIYL: Jangling guitars, bilingual vocals, spritely energy

50. Dummy – Free Energy

RIYL: Transient random noise bursts, drone-pop

49. Jon McKiel – Hex

RIYL: East Coast Canadian indie-pop experimentalism

48. Andre Ethier – Cold Spaghetti

RIYL: Subdued, observational singer-songwriters

47. Various Artists – TRANSA

RIYL: An expansive and affirmational exploration of transition

46. maya ongaku – Electronic Phantoms

RIYL: The softer side of Japanese psychedelia

45. Luka Kuplowsky – How Can I Possibly Sleep When There Is Music?

RIYL: Poetry, Sandro Perri, Bohemianism, revelling in beauty but in a fairly chill way

44. Psychic Temple – Doggie Paddlin’ Thru the Cosmic Conscousness

RIYL: The most cosmic of cosmic American music, subdued space-country jams

43. Ethnic Heritage Ensemble – Open Me, A Higher Consciousness of Sound and Spirit

RIYL: 50-year-old jazz collectives trying cello, viola, and violin on for size

42. Nala Sinephro – Endlessness

RIYL: Dissolving the boundaries between jazz, neo-classical, ambient, and electronic

41. BASIC – This Is BASIC

RIYL: The Durutti Column, Chris Forsyth, sideways approaches to art-rock instrumentals

40. Peel Dream Magazine – Rose Main Reading Room

RIYL: Breezy, unpretentious bedroom pop

39. Laurent Dury – Organic Minimalism

RIYL: TV soundtracks, library music, contemporary classical sounds

38. Scions – To Cry Out in the Wilderness

RIYL: Experimental, affirmational, confrontational art-rock

37. OHMA – On Loving Earth

RIYL: Open-hearted instrumental collaborations, acoustic guitar and flute

36. Jennifer Castle – Camelot

RIYL: ’70s folk, alt-country, impeccable songwriting

35. Earthen Sea – Recollection

RIYL: A downbeat, dubby, tribute to ECM jazz

34. The Smile – Cutouts

RIYL: Thom Yorke, Jonny Greenwood and Tom Skinner just living in the moment

33. Dialect – Atlas of Green

RIYL: Sonic sculptures and electroacoustic experiments

32. Project Gemini – Colours & Light

RIYL: Funky psychedelia, deep soundtrack grooves, haunted forests

31. Bernardino Femminielli – Opéra Bouffe

RIYL: Serge Gainsbourg, melodrama, indulgence

30. Memorials – Memorial Waterslides

RIYL: Electrolane, Wire, art-rock excellence

29. Jessica Pratt – Here In the Pitch

RIYL: “spectral ’60s pop, Hollywood psychedelia and bossa nova” (because the bio says it best)

28. Eric Chenaux Trio – Delights of My Life

RIYL: Lost jazz standards flipped inside out

27. Zachary Gray – Suburbia EP

RIYL: East-coast IDM, headphone beats, wistfulness in musical form

26. Bilal Nasser – How Can We Say Nothing

RIYL: Post-classical guitar, shoegaze, tension, beauty and catharsis

25. Ayal Senior – Ora

RIYL: Psych-folk instrumentals, desert soundscapes, tasteful prog overtones

24. Beth Gibbons – Lives Outgrown

RIYL: Portishead without the trip-hop, melancholy folk, realizing you’re aging and should probably accept it

23. Elori Saxl – Earth Focus OST

RIYL: PBS, high-concept jazz, erasing the lines between nature and architecture

22. The Soundcarriers – Through Other Reflections

RIYL: Impeccable throwback psych-pop, trippy harmonies, bands that deserve more attention

21. Nick Schofield – Ambient Ensemble

RIYL: Ambient ensembles, electroacoustic collaborations, feeling at peace with your surroundings

20. Buildings and Food – Echo the Field

RIYL: Hope, warmth, and comfort conveyed through buzzing synths and ASMR beats

19. Geotic – The Anchorite

RIYL: Baths, Bibio, tape hiss, surprising moments of distorted bliss

18. Shabaka – Perceive Its Beauty, Acknowledge Its Grace

RIYL: Beauty, grace, ambient jazz, woodwinds, Moses Sumney, Laraaji, breathing

17. Fuubutsushi – Meridians

RIYL: Subtle, meditative jazz and post-rock with the occassional melodromatic flourish

16. Sam Wilson – Wintertides

RIYL: Intricate instrumental folk-jazz, an unusual blend of invention and accessibility

15.5. Loving – Any Light

(.5 because I missed this on the initial draft and that’s unforgiveable)

RIYL: Classic AM radio, Jungian psychology, pitch-perfect folk-rock

15. Organic Pulse Ensemble – Zither Suite

RIYL: Can’t think of anything clever because I don’t understand how it’s possible for one musician to singlehandly make a jazz album that feels this multifaceted

14. ROY – Spoons for the World

RIYL: Scott Walker, Lee Hazlewood, deep voices singing cosmic country

13. Andrew Wasylyk, Tommy Perman – Ash Grey and the Gull Glides On

RIYL: Perfect pairings, jazz-folk-electronic fusions, subtle details, chanted vocals, small doses of Arab Strap

12. Tomin – A Willed and Conscious Balance

RIYL: The International Anthem version of large-ensemble jazz, featuring strings and horns aplenty

11. Lau Ro – Cabana

RIYL: Wax Machine, MPB, soft psychedelia, instrospection

10. SW Hedrick – Devotional Drift Vol. 1

RIYL: Metal guitarists embracing transcendental rhythms and meditative compositions

9. Hiro Ama – Music for Peace and Harmony

RIYL: Japanese synthesizers, romantic ideals, gentle reassurances

8. Cindy Lee – Diamond Jubilee

RIYL: Singular visions, impeccable musicianship, girl group pop, subversive instincts, the sound of letting people in, at least just a little

7. Caméra – Caméra

RIYL: Slowing down, getting playful, making music for the joy of it

6. Peggy Lee & Cole Schmidt – Forever Stories Of: Moving Parties

RIYL: Unusually expansive cello and guitar-led compositions pulling from post-rock, experimental jazz, ’70s prog and beyond

5. SiP – Leos Ultras

RIYL: Fourth-world ditties that radiate warmth, wisdom and joy

4. Tristan Arp – a pool, a portal

RIYL: Closing your eyes, opening your ears, and getting lost in strange new world

3. Hypnodrone Ensemble – The Problem Is In The Sender – Do Not Tamper With The Receiver

RIYL: Waves of sound enveloping you until the rest of the world just disappears

2. Fabiano do Nascimento, Sam Gendel – The Room

RIYL: The year’s purest expression of melody, acoustic artists in absolute alignment

1. Ezra Feinberg – Soft Power

RIYL: Beauty in simplicity, sipping drinks from the Penguin Cafe, feeling like maybe it’s going to be ok

Best Albums of 2024 (So Far)

A selection of the finest ambient, experimental, dream pop, and otherwise blissful releases from Jan-June 2024. One song each from most of these (minus three) are in this Spotify playlist and this Tidal playlist, or listen to the albums in their entirety with the links below.

Ariel Kalma, Jeremiah Chiu & Marta Sofia Honer – The Closest Thing to Silence (Feb. 2, 2024)

A lush blending of electronics and woodwinds, capturing the best of both strands of the current ambient jazz boom. Its improvised tracks are inquisitive, intelligent, grounded, and grounding.

Ayal Senior – Ora (June 19, 2024)

Invigorating instrumental psych-folk—lovely melodies anchored by Senior’s resonant 12-string guitar. Meandering without sacrificing momentum, like a river flowing confidently to the sea.

Beak> – >>>> (May 28, 2024)

More of Beak> doing what they do best, exploring the haunted side of kosmische and post-rock. Unsurprisingly for a Portishead spinoff (though it’s a well-established project in its own right), this is perfect autumn music—maybe set it aside until then.

Beth Gibbons – Lives Outgrown (May 17, 2024)

Another Portishead-related project. Shocking that former frontwoman Gibbons waited until 2024 to make her solo debut (2002’s brilliant Out of Season almost counts, but was still a collaboration with Rustin Mann). Less shocking that it’s also a fantastic piece of work, a moody meditation on life and loss. “Floating on a Moment” even manages to make a children’s choir effective, no small feat.

Bibi Club – Feu de garde (May 10, 2024)

Jangling pop and post-punk sung in both official languages. Strongest in its most upbeat moments (see “Le feu” or “Reu du Repos”), but the moodier moments work well, too.

Big Brave – A Chaos of Flowers (April 19, 2024)

Like folk songs played on thunderclouds—doom-laden dirges riding some of the crunchiest distortion you’ll hear this year.

Bilal Nasser – How Can We Say Nothing (February 15, 2024)

An inspired fusion of classical guitar, shoegaze atmospherics, and post-rock pacing, and a haunting statement from the Palistinean-Canadian composer.

Buildings and Food – Echo the Field (May 10, 2024)

Stripped down compositions from Toronto’s Jen K. Wilson that reveal more with every spin. Inspired by the expanse of the Mojave and just as easy to get lost in.

Caméra – Caméra (April 5, 2024)

A fantastic debut from this Montreal trio that’s very much flying under the radar. Gently cinematic sounds that never fail to surprise; a Quebec post-rock spin on Yann Tiersen, or a more sedate take on Torngat’s early 2000s explorations. Either way, this one’s a stunner.

Cindy Lee – Diamond Jubilee (March 30, 2024)

Say what you will about the release strategy and the hype, this double-album from former Women singer Pat Flegel deserves all the acclaim its received. The first Cindy Lee album that doesn’t push listeners away with walls of confrontational distortion; just haunted pop bliss from a spectral ’60s girl-group.

Circles Around the Sun and Mikaela Davis – After Sunrise (April 5, 2024)

Speaking of pop bliss, who would’ve thought disco cosmonauts and expressive harp would sound this great together? Tailor-made for lounging beachside without a care in the world.

Daisy Rickman – Howl (March 20, 2024)

Nico is the lazy comparison, but it’s not like it isn’t apt. Droning folk compositions and icy-cool and strikingly deep vocals; you could easily convince me that Rickman has tapped into some deep well of earth-magic.

Dana Gavanski – Late Slap (April 5, 2024)

A bit more of a pop effort, but still every bit as quirky and inventive as anything she’s released—the melodies are always unconventional and accessible all at once.

David Allred – Apocalypse Rose (June 20, 2024)

Gentle and brief neoclassical compositions, slow, melodic, and a little melancholy. Not an attention-grabber, but when the right mood strikes, it’s an easy one to get lost in.

Dean McPhee – Astral Gold (February 16, 2024)

Solo guitar looped, echoed and reverberated until it conjures the cosmos. Influenced by kosmische, dub, and experimental electronics, Astral Gold drifts slowly and inevitably, a score to distant, unfathomable clouds of interstellar dust.

Eric Chenaux Trio – Delights of My Life (May 31, 2024)

Chenaux’s ongoing collaborations with Ryan Driver are never less than gorgeous, and the first release from this new trio (rounded out by percussionist Phillipe Melanson) is as lovely as anything in his rich catalogue. Chenaux’s voice is in top form, and no effects can hide the beauty of these guitar melodies. Lounge music from an alternate dimension.

Ethnic Heritage Ensemble – Open Me, A Higher Consciousness of Sound and Spirit (March 8, 2024)

50 years on, Kahil El’Zabar’s Ethic Heritage Ensemble is still adding new dimensions to its sound. Open Me adds cello, violin, and viola to the mix, and the gritty textures are hypnotic. The opening spin on Miles Davis’ “All Blues” and the pulsing take on the traditional “The Whole World” are highlights among a very solid collection of spiritual, consciousness-expanding jazz.

Ezra Feinberg – Soft Power (May 31, 2024)

East coast ambient from former Citay member (and current psychoanalyst) Ezra Feinberg, who benefits from some exceptional collaborators. Mary Lattimore lends her always-welcome harp to closing track “Get Some Rest,” Jefre Cantu-Ledesma adds flutters of synth to “Pose Beams” (along with Robbie Lee’s expressive piano); each song feels more discovered than written, open to possibilities and inviting to the listener.

Fabiano do Nascimento, Sam Gendel – The Room (January 26, 2024)

An instant favourite from the first strums of album opener “Foi Boto.” do Nascimento’s seven-string guitar is exceptional but never showy, prompting Gendel to indulge in his most melodic impulses. Nothing more than guitar and saxophone, but easily among the most captivating releases of 2024.

Fuubutsushi – Meridians (June 27, 2024)

The expectations set by Fuubutsushi’s fantastic four-part tribute to the seasons, released in 2020 and 2021, can’t have been easy to manage. That project was a band discovering itself—the project didn’t even have a name when the first part was released—whereas Meridians is by necessity a fleshing out of and reaction to those first releases. Good news: Meridians is absolutely a worthy successor to the ambient-jazz torch, or post-rock, or whatever you might want to call a blend of lush violin, field recordings, exploratory percussion, and wandering woodwinds.

Geotic – The Anchorite (February 21, 2024)

Will Wiesenfeld’s latest conjures up early Bibio in all the best ways, with fingerpicked guitars, heavy reverb, and plenty of tape hiss evoking an old cassette dug up from the forest humus. That is, until “The Lime of Stars” unleashes the distortion and reaches for a droning cosmic crescendo.

Group Listening – Walks (May 10, 2024)

I would’ve been quite content with Group Listening sticking to their formula of covering cult classics on clarinet and piano, but I can’t begrudge them branching out into original compositions. Especially when it keeps the playfulness of the previous approach while expanding the sonic pallette as expertly as they do here.

Hochzeitskapelle – We Dance EP (March 22, 2024)

Four covers—Pavement, Yo La Tengo, Low, and German pop band Wir Sind Helden—transformed into Hochzeitskapelle’s trademark autumnal “Rumpelljazz” might seem a bit slight compared to some of the albums on this list, but after the expanse of last year’s double-album The Orchestra in the Sky, the brevity is understandable. And regardless of the length, as always with Hochzeitskapelle, the mood is magic.

Ivan the Tolerable – Time is a Grave (June 7, 2024)

Time is a Grave is Ivan the Tolerable (aka Oli Heffernan)’s sixth release of 2024 (with another due out in a few days as I write this), which might make you assume it’s tossed off, but the strange thing is he’s as consistent as he is prolific. Jammy, psychedelic jazz, slightly spooky with no shortage of musical ideas.

Jahari Massamba Unit – YHWH is LOVE (March 1, 2024)

Karriem Riggins and Madlib reteam after 2020’s Pardon My French for an album of hip-hop-influenced spiritual jazz. Given those names and those genres, you probably already know if you’re sold. Deep grooves and good vibes.

Jeffrey Silverstein – Roseway EP (June 14, 2024)

Silverstein’s sound has evolved quite a bit since 2020’s You Become the Mountain, but the basic gist—a fusion of country boogie and new age atmosphere—is still solidly in place. The boogie is at the forefront here, with Akron/Family drummer Dana Buoy providing the backbone, and Connor Gallaher’s pedal steel ramping up the twang.

Jessica Pratt – Here in the Pitch (May 3, 2024)

Classic pop songcraft that pulls from the sounds of the ’60s (or earlier), but never succumbing to nostalgia—Pratt may have tapped into an older vein, but she isn’t pretending the past 50 years of musical history didn’t happen. Haunting, resilient, and unplaceably odd.

Jon McKiel – Hex (May 3, 2024)

Oddball psychedelia from New Brunswick. McKiel and collaborator Jay Crocker both know how to write pop tunes and how to subvert them. Inspired by ’60s-’70s singer songwriters (see the Terry Jacks cover or the Everley-aping “Everlee”), but through a filter of East Coast experimentation.

Kilometre Club – An Alphabet of Distance (June 1, 2024)

Twenty-six ambient collaborations, from “Airliner” (with Holly Kenniff) to “Zone of Harmony” (with Sun Rain), each artist adding their own unique textures to Kilometre Club’s droning ambiance.

Lau Ro – Cabana (May 31, 2024)

Wax Machine’s Lau Ro explores their Brazilian roots on their solo debut. The results are heavy on atmosphere (tape hiss and field recordings are par for the course), but also airy and melodic, intimate and experimental.

Los Days – Dusty Dreams (May 31, 2024)

Easygoing easy-listening instrumentals from Tommy Guerrero & Josh Lippi. Surf, psych, and breezy tropicalia baked under the desert sun.

Loving – Any Light (February 9, 2024)

Laurel Canyon vibes via Canada’s West Coast, with lyrics inspired by Jungian insights and melodies that rarely rise above a whisper, because they don’t need to.

Luka Kuplowsky – How Can I Possibly Sleep When There Is Music (May 31, 2024)

It’s hard not to fixate on the breezy title track and its chief sentiment, but the 24 tracks here cover a lot of ground. Poetry set to music, and occassionally as indulgent as that surely sounds, but even if it inspires the occassional eye-roll, it inspires bliss much more often.

Magic Fig – Magic Fig (May 17, 2024)

An excellent distillation of the best parts of psych, Canterbury, pop-prog, and jangle-pop, reconfiguring familiar elements into a sunny summer soundtrack.

Molly Lewis – On the Lips (February 16, 2024)

The queen of contemporary exotica makes it all seem so effortless. Ten songs anchored by Lewis’ immaculate whistle, this time adding a few more contemporary sounds to the mix, still straddling the line between kitsch and classic in all the right ways.

Nick Schofield – Ambient Ensemble (February 9, 2024)

With Ambient Ensemble, Schofield moves gracefully from synth soundscapes to chamber music. Collaboration suits him—the clarinet flutters and violin swells add a vibrancy that’s often missing from solo ambient work.

OHMA – On Loving Earth (April 22, 2024)

Abandoning the synths they used so effectively on 2022’s Between All Things, OHMA’s Mia Garcia and Hailey Niswanger stick to organic sounds for On Loving Earth. The narrower musical focus brings the melodies to the forefront, lilting and lovely, paying tribute to the beauty of nature.

Organic Pulse Ensemble – Zither Suite (January 5, 2024)

Despite the name, OPE is actually one man, Gustav Horneij, layering sax, flute, bass, and zither into spiritual jazz bliss in an apartment outside Gothenberg. How Zither Suite captures the freewheeling spirit of improv so perfectly without an actual ensemble is hard to imagine, but the results speak for themselves.

Osmanthus – Between Seasons (January 30, 2024)

Not the Toronto alt-rock band, the Calgary collaboration between ambient synth maestro Valiska and violinist Laura Reid. Improvised sessions reworked digitally, sometimes subtly and other times more obviously; it’s at its most engrossing in the longer compositions, but the ear for unique textures is always there.

Project Gemini – Colours & Lights (April 5, 2024)

2022’s The Children of Scorpio was a solid enough debut, but Colours & Lights ups the ante in every respect. Acid-folk grooves, psychedelic vocals, and folk-horror vibes—it’s a perfect Halloween album without being so on-the-nose that you couldn’t play it year round.

Psychic Temple – Doggie Paddlin’ Thru the Cosmic Consciousness (May 31, 2024)

You never quite know what you’ll get with Psychic Temple—a 15-minute spooky-jazz cover of Black Sabbath? 20 minute cosmic-synth experiments?—but the surprise with the ninth and possibly final Psychic Temple album is how straightforward it is. Just laid-back cosmic country grooves and chooglin’ guitars, backyard music for semi-stoned summer days (even for those of us who don’t partake in anything stronger than music).

Retep Folo & Dorothy Moskowitz – The Afterlife Album (March 1, 2024)

Hauntological audio collage of the sort you’d expect from Ghost Box recordings or maybe Broadcast, cobbling together bits of psychedelica, Mort Garson synthscapes, and otherworldy exotica. Co-creator Moskowitz was in ’60s psych act United States of America, and apparently the 60 years since that psychedelic moment has done nothing to dim her musical adventurousness.

ROY – Spoons for the World (April 19, 2024)

ROY’s retro-minded psych-glam never quite worked for me, but his re-emergence as a country-tinged Scott Walker/more melancholy Lee Hazelwood is nothing short of stunning. Maybe it’s another schtick, but when the songwriting is this impeccable, who really cares?

Sam Wilson – Wintertides (April 5, 2024)

Folk-influenced instrumental jazz, taking inspiration from nature in its cyclical compositions. For an album inspired by winter, it’s surprisingly warm to my ears; maybe this is winter viewed through a window from inside a warm cabin, admiring the iciness outside but feeling cozier from the contrast.

Shabaka – Perceive Its Beauty, Acknowledge Its Grace (April 12, 2024)

2022’s sparse Afrikan Culture foreshadowed Shabaka’s decision to put away his saxophone (sorry Sons of Kemet and Comet is Coming fans) in favour of flute, clarinet, and other, more obscure winds. Shabaka’s latest builds on that foundation but enlists others to expand the sound, with Moses Sumney, Saul Williams, Laaraji, and Andre 3000 among the talented many here. Gentle, varied, and highly rewarding.

Shabason, Krgovich, Sage – Shabason, Krgovich, Sage (April 5, 2024)

The third partnering of Shabason & Krgovich adds M. Sage’s pastoral electronics to the mix, and if it’s not exactly a departure from the past two releases, it’s still a welcome variation. Krgovich’s observational lyrics are insightful as ever, consistently elevating the everyday into the borderline-transcendent.

Temporal Waves – Temporal Waves (April 12, 2024)

Tabla isn’t typically associated with sci-fi futurescapes, but Temporal Waves debut makes it sound like a natural fit. A retrofuturist vision, rich with synthwave influences and the occasional psychedelic solo from Besnard Lakes’ Jace Lacek, who also produced.

The Sorcerers – I Too Am a Stranger (February 9, 2024)

Deeply groovy stuff, the kind of sound you sort of wish was from a recently unearthed slab of ’70s vinyl instead of three lads from Leeds indulging in Ethio-jazz adventures, but beggars can’t be choosers.

Unessential Oils – Unessential Oils (May 31, 2024)

Easily my favourite release from Warren Spicer since Plants & Animals debuted with With/Avec almost 20 years ago. It embraces a loose jazziness that has always suited Spicer’s songwriting, with elements of folk and Tropicalia keeping the sounds nice and varied.

Yu Ching – The Crystal Hum (April 26, 2024)

No surprise that Yu Ching shares a label with the Space Lady and Ela Orleans—all three embrace idiosyncratic approaches to lo-fi synth songwriting. Like Orleans, Yuching Huang prefers the oblique and mysterious to anything like an obvious hook. It’s unearthly, but still oddly ear-catching, unexpected and inviting at the same time.

March at the movies

Capsule reviews and stray thoughts from March 2024. All reviews via Letterboxd.

Ghostwatch (1992)

Even knowing some of the stories (the public inquiry, traumatized children, banned from the air for a decade) I still assumed this would be more spooky than scary. I mean, how far would the BBC really go with a fake live broadcast ghost story?

Turns out, pretty damn far. Ghostwatch is exceptionally well done, slowly ratcheting the tension for the first 70 minutes and then absolutely going for broke. The backstory that develops is so much darker than I would have expected, and the “found footage” aspect is clever and effective, seven years before Blair Witch, and with the added credibility of BBC presenters.

Seriously scarier than most theatrical horror movies. No wonder the British Journal of Medicine apparently cited it as the first TV show to cause PTSD in children.

Max Headroom: 20 Minutes into the Future (1985)

I was expecting more Max Headroom in this, to be honest.

So you have an advertising conspiracy creating concentrated ads that have the potential to explode people—but only the laziest slobs who are most susceptible to overstimulation. You have the intrepid reporter as hero, the pirate TV host who stumbles into a hit show, and the glitchy CG character (actually just some well-made prosthetics) who’s destined to be a sensation.

A lot of good elements, but the whole doesn’t really add up to much. Impressive that someone saw the potential for a mass-market phenomenon in the tiny clips of Max, because this scrappy made-for-TV cyber-punk thriller really is just seeds and not much more.

Love Lies Bleeding (2024)

Must be the season of the pulpy lesbian crime dramedy.

But despite the high-level, completely superficial similarities to Drive-Away Dolls, this is very much its own thing, a mix of magic realism, body horror, and off-kilter eroticism that’s hard to take your eyes off of (except in a couple of scenes that push the violence to limits where I had no trouble averting my eyes). I’ve heard complaints that the climax is too A24, but I haven’t hit my saturation point on their aesthetic and would gently push back on the idea that they even have a consistent enough one that it’s worth getting up in arms about.

Ed Harris would make a great Cryptkeeper.

Dune: Part Two (2024)

Maybe it’s the depression talking, but I didn’t really connect with this. Not to say I didn’t marvel at it—Villeneuve is undoubtedly a master of scale and Dune: Part Two looks, sounds, and feels absolutely monumental. But that scale is a cudgel; I didn’t feel moved so much as beaten into submission.

Some of it I loved. The early shot of soldiers hovering up a mountainside was gorgeous. Javier Bardem smuggling unexpected warmth and humour into such a self-serious setting. The brief detour to HR Giger’s Riefenstahl‘s Ancient Rome under a black hole sun. The craft that went into all of this is incredible, and I’m glad to have seen it all on Imax, like God intended.

Aside from the score and a completely miscast Christopher Walken, there wasn’t much I actively disliked. I think it’s more that the scale demands detachment; when everything in a film is this large, it becomes inhuman, and the characters never managed to fill in that space for me. Maybe that’s appropriate for a story about destiny and the grand sweep of history, but this still could have used a bit more life.

The Holdovers (2023)

Not exactly a “they don’t make ’em like this anymore” situation, but it’s a bit telling that when they do make ’em, so much effort is put into creating the illusion that it’s a 50-year-old film that’s somehow been rediscovered.

Everything about this is comforting to me. The cranky holiday mood, the well-worn character arcs, just the right vibe for someone who ocassionally wonders if he’s a misanthropist but is very much a softy when you get down to it. Giamatti’s character is definitely how I’ve always pictured my future self, so even if his redemption arc is a little cliched, it’s still satisfying. And it’s impressive that this is Sessa’s screen debut; holding your own against Giamatti at his best has to be a daunting first assignment.

Small nit to pick, but with so much care put into making this feel period appropriate, it does seem like an odd choice to include a couple post-millennial songs on the soundtrack, even if they didn’t feel particularly out of place. Didn’t detract, I’m just curious what the logic was.

(Also, I’m very curious how the real-world plagiarism accusations pan out.)

A Bucket of Blood (1959)

I’m an unashamed member of the Dick Miller Appreciation Society, so it’s great to see him hamming it up in one of his earliest roles. Not as grisly as the title led me to think, with a plot that actually hews fairly close to Little Shop of Horrors (another Corman flick), but worth watching in its own right for the loving shots at Beat culture. The film opens with a poet who is meant to be pompous and insufferable and in all honesty, I kind of dug it. Not enough to embark on a murderous art career, but it still spoke to me, for whatever that’s worth.

Ishtar (1987)

I’m glad the consensus on this has shifted in the last few years so I don’t have to wonder if I’m just being contrarian when I say this was a delight. Some of the loudest laughter I’ve had at a movie in a long while. Beatty and Hoffman are great as aspiring songwriters who are blissfully oblivious to how awful they are, and the film strikes a good balance of laughing at them and buying into the joy of collaborating on even terrible music. (Having them play againt type is also fun; Beatty is surprisingly good at turning his charisma off completely.)

I do understand the criticism that it loses steam when they leave New York, but even if the idiots abroad plot distracts from what makes the first 20 minutes and especially the last 5 so great, it also gives us a blind camel and Charles Grodin’s CIA man, and I wouldn’t want to give up either of those things.

It really goes to show how much the pop culture memory of a thing can be so disconnected from the reality. I can’t imagine that audience would’ve viscerally disliked this if they’d actually seen it, and not been pre-poisoned by the bad press. There are much worse movies out there with much better reputations.

Road House (2024)

For a good Buick, watch the original instead. 

Everything has to be a trauma plot now. Can’t just have the world’s most competent zen bouncer working his magic. It has to be a borderline suicidal guy navigating his guilt and anger management issues — when he isn’t being incongruously zen, too. Very inconsistent characterization. 

My college essay of this would be on how the remake reflects the erosion of America’s faith in expertise, but that’s a bit much for what seems like it’s mostly an excuse for ol’ Jake to show off his abs (and I can’t blame him…). At least he seems to be having fun. 

The fact they renamed the road house Road House speaks poorly for the modern world.

Immaculate (2024)

If I was ever going to watch this (a horror film that’s probably most easily summarized as Suspiria meets Rosemary’s Baby in a convent), Good Friday was probably the right day for it. Otherwise a very middle-of-the-road horror film that I will probably forget about entirely in a week or two. Beautiful setting, though, and some pretty effective sound design.

Someone brought a kid who was maybe 12 to the screening, which seemed like an odd choice.

Recent Reading: Q1 2024

(also including a bit of April)

The Handover

David Runciman

tags: non-fiction, AI, politics, capitalism

Having listened to many hours of Runciman’s podcasts, it’s always a treat seeing how well his voice translates into his writing—approachable, inquisitive, and authoritative in equal parts. The conception of states and corporations as artificial agents is an interesting thread he’s been pursuing since at least How Democracy Ends, and is a helpful framing for thinking about how much agency we’ve already handed off to non-human entities, even before bringing AI into the mix. It’s always good to remember that there’s a big difference between “novel” and “unprecedented,” and there’s almost always a historical context worth learning from.

The Wendigo

Algernon Blackwood

tags: novella, weird fiction, weird nature, feet of fire

Not as atmospheric or as haunting as The Willows (a story where not much happens, but it happens vividly), but memorable in its own right, especially if you can set aside the of-its-time racism that crops up a couple of times in the opening chapter. Mostly, it’s Défago’s oddly poetic cries that will stick with me, the rest of the story being fairly boilerplate weird fiction—or at least what would become boilerplate in the decades to come. Still, one phrase sticking with me is really all I ask for from something this short.

Mind MGMT Vol 1 – 6

Matt Kindt

tags: graphic novel, conspiracy culture, psychic warfare, immortals, dolphins

I very much appreciated the density of this series and the effort of the watercoloured artwork, although I worry a bit when density and effort are the first things I think to compliment. Kindt presents an absurdly intricate world with its own intuitive (or at least intuitable) logic, and while it sometimes can seem too multilayered for its own good, it generally manages to keep the story as the central focus.
Never quite attains the mystic highs of something like Grant Morrison’s Invisibles—despite its focus on altering minds, I wouldn’t quite call this psychedelic—but there’s a unique world, unique art, interesting use of the medium, and a story that doesn’t strain to fill a half-dozen trades. It more than justifies a read, in other words.

A Guest in the House

Emily Carroll

tags: graphic novel, haunted, phantasmagoria, trauma

Fantastic. Atmospheric and unpredictable, beautifully blending the mundane and the phantasmagorical. Carroll’s artwork is exquisite, overtly on the pages where fantasy takes over, and more subtly in the dollops of colour that leak into the real world, especially when thinking of those in light of the ending. I love how unconstrained she is by panels or rigid structures; the story art seems so much more organic when it’s allowed however much room it needs.

Not a traditional haunted house story and that’s absolutely for the best. I never settled into a sense of knowing just what kind of story this was, and on the rare moments I did, whatever expectations I did have were nicely subverted. It’s unusual for an ending to reframe so much of what came before, with nothing contrived or forced about it. That’ll sit with me, for sure.

When reading something like this, I’m often struck by the difference in how much time it takes to create a page vs how long it takes to read it. Probably a good reason to revisit this sooner than later, just to see what details I didn’t pick up on the first time

Through the Woods

Emily Carroll

tags: graphic fiction, short stories, fairy tales, weird fiction

I definitely see the appeal of this one—Victorian/Edwardian* ghost stories with a more contemporary, weird edge—and if I hadn’t started with A Guest in the House I probably would be giving this more praise. But Carroll’s newer work is just so much more sophisticated, in its artwork and in its narrative, that I couldn’t help being a little disappointed with this. More a testament to her growth as an artist than a criticism of this one, which is still worth a read, just not one I’d likely go out of my way to recommend.

*I shouldn’t guess at eras, it’s really not something I know much about. Let’s just call it an era with both untamed wilderness and frilly garments.

Fluke: Chance, Chaos, and Why Everything We Do Matters

Brian Klass

tags: non-fiction, coincidence, interconnection, fate, free will

One of the risks of reading a pop-sci take on a subject you’ve spent a lot of time reading and thinking in is it can feel like a bit of a rehash or a gloss, and that’s how I felt for a lot of Fluke. It’s not a criticism of the book, which is thoughtful and features well-chosen examples for its look at the highly contingent nature of reality. Anything that tries to pull together threads of chaos theory, the interconnection of all things, and the impossibility of free will is admirable. I think this’d likely be a great primer for people new to these subjects and might open doorways into areas like Zen Buddhism, optimistic nihilism, and contemporary philosophy. It just wasn’t the right book at the right time for me.

The Weather Detective

Peter Wohlleben

tags: non-fiction, gardening, weather, flora, fauna

I’m not sure if this is on me or the book’s marketing, but I really didn’t expect this to be so much about gardening. The Hidden Life of Trees was wonderful and felt like it was exposing me to a whole world that had previously been invisible to me. This had some interesting tidbits, but felt closer to an advise column than a revelation. Still very approachable and knowledgable, but not something I likely would have sought out if I’d known what it was.

The Middle Passage

James Hollis

tags: non-fiction, mid-life, Jung, purpose, rebirth

I really need to put together some more thorough notes on this one, but in short, a lot of this resonated with what I’ve been feeling as I fumble into my 40s. A helpful framework for thinking about how to push through and emerge, if not stronger, at least more fully myself. The handful of exercises it offers are more about asking the right questions rather than providing concrete actions to take, but part of the whole point is that there are no easy answers, and I can see how looking for an outside authority to show you your true inner self would be counterproductive.

The Resurrectionist : The Lost Work of Dr. Spencer Black

E.B. Hudspeth

tags: fiction, fake biography, illustrated, novella

An odd work—essentially a short story disguised as a biography, paired with anatomical drawings of mythical creatures, which take on a darker tone when paired with the story. It’s a unique book, and the closing image of the story is ominous and ambiguous. There isn’t much in the way of narrative, and what there is, at least the more horrific aspect, is mostly implied. But it gives just enough to make sure it lingers.

Recent Listening: February 2024

I’ve been getting into the habit of sharing sporadic reviews on Threads when it strikes me, and figured it’d be an idea to start compiling them here, too. I’m not in the habit of writing about duds, so if it’s here, consider it an endorsement.

Retep Folo & Dorothy Moskowitz – The Afterlife EP (2023)

Moskowitz’ psych credentials date back to her time in LA art-rock project The United States in the ’60s. Nearly 60 years later, she still has an adventurous ear, teaming with Folo for a release that wanders the same cosmic byways as Alain Goraguer’s Fantastic Planet score, with hints of Broadcast, vintage library music, and other retro-futurist sounds. My only complaint is that it’s too short—but fortunately there’s a full-length due next month.

Fortunato Durutti Marinetti – Eight Waves in Search of an Ocean (2023)

pener “Lightning on a Sunny Day” treads a little close to Destroyer’s postmodern spin on ’80s easy listening, but by the time you hit the strut of “Smash Your Head Against the Wall” there’s no doubt this is something special. Flutes flutter, synths buzz and soar, and Marinetti’s not-quite-spoken-word vocals dryly deliver enigmatic lines, pitched somewhere between Lou and Leonard.

Penza Penza – Electricolorized (2023)

I missed this record from Misha Panfilov’s primitivist side-project last year because Penza Penza’s previous releases were a little garagey for my taste. This one hits a sweet spot, though—fuzzy, catchy, and groovy through and through. Should’ve known better than to doubt Estonia’s master of library instrumentals.

Loving – Any Light (2024)

Laid-back pop perfection that pinches some of Nilsson’s effortless melodicism and the Bryter side of Nick Drake (though considerably more subdued). With music like this, I always find it difficult to pin down what makes one artist sound cliched and another invigorating, but Loving have always landed on the right side of that divide. Call it charisma, craft, or just personal bias, but they haven’t led me wrong yet.

It feels like there’s a ’60s/’70s singer-songwriter renaissance around the corner (see ROY’s newest single, or Fortunato above), and if that happens, Loving should be at the forefront.

Minhwi Lee – 미래의 고향 Hometown to Come

Singer-songwriter fare from South Korea. Hushed, a little melancholy, always elegant. At its best when the jazz influences come to the fore, but there really isn’t a bum note, and the tasteful arrangements (strings, flute, melodic percussion) make for fine evening listening.

February at the movies

Capsule reviews and stray thoughts from February 2024. All reviews via Letterboxd.

American Fiction (2023)

Felt like a bit of a bait and switch, but a thematically appropriate one, at least. The trailer had me imagining Boots Riley energy, or maybe an updated spin on Bamboozled, but a few sequences aside, that’s not what this is up to at all. This is a family dramedy with an occasional subplot about literary fraud, not an angry satire about the state of Black representation in pop culture. It does dig in on the satire every so often, and yeah some of those shots it takes are great (one involving an RBG poster definitely did me in), but that feels secondary to the real relationships that drive the film.

Which is part of what makes the ending feel like a cheat. More charitably, it makes sense for the satire I thought I was getting, but not for the human story that was actually the bulk of the movie. It leaves the whole thing feeling more muddled than I expected for a best picture nominee, but even that somehow seems like an extension of the point the film is making.

The Tragedy of Macbeth (2021)

Ever since this was first announced I’ve been curious why Joel Coen would choose this as his first solo project. Now that I’ve finally seen it, I’m still unsure. I see the connections to other Coen works, but as far as why this film at this time, I’m still at a bit of a loss.

Visually it’s magnificent, and feels like a love letter to European arthouse from Caligari and Joan of Arc to the Seventh Seal. It feels meticulous almost to the point of being overfussed, but when you get images like the reflection of the weird sisters in their introduction, it’s hard to complain. The performances are also universally strong, at least in their individual moments, but there’s some of the same rigidity in the way they come together that keeps it from conveying the tragedy of the title. Even knowing the shape of the plot, I didn’t feel the sweep of the narrative, which was surprising given the calibre of talent involved in every part of this.

Certainly worth watching, but as a curiousity more than a statement.

Black Mirror: Demon 79 (2023)

I fell off of Black Mirror years ago, so no surprise that the episode that’s most criticized for shedding basically all the show’s hallmarks is also the one I’ve enjoyed the most in a long while. Nice period textures, goofy plot, more interested in story than message (though the political subtext is far from subtle)—it’s a 75-minute demon-murder lark and if a stalled spinoff of Black Mirror is what it took to get it made, so be it.

Starman (1984)

Nice to see John Carpenter straying from the nihilism of so much of his work for something sweet and even a little silly. Bridges’ performance as an alien discovering how to use its new human body could have been irritating, but he settles into the right balance of quirky but contained. I love the way his attention is always in motion, the way he seems unfamiliar in his body, never quite using it properly. Something about the physicality struck me as bird-like, and I really wonder if that was intentional.

I can see why the studios worried this would seem too similar to ET, but 40 years on, they very much feel like different stories for different audiences. Watching it I found myself thinking of Contact more than anything Spielberg—maybe because I’ve seen it more recently, but the sense of hope, the love of science (and SETI), the loathing of militarism, and even the basic idea of the alien taking the form of a lost loved one, it’s hard to deny the echoes.

His Girl Friday (1940)

A rewatch because it’s been more than a few years and my partner has never seen it. It’s billed as a screwball romance, but I’m not sure whether it’s a love story or a hostage negotiation. Either way I laughed a lot.

This movie basically never takes a breath, except when a room full of journalists pauses to reflect on the glibness and cynicism of their worldview, laid bare by a desperate woman at the end of her rope. The fact the movie finds room for that, and then jumps right back into the snappiest, overlappingest dialogue this side of, well, anything, is impressive as heck.

Insert Coin (2020)

Fairly standard talking-head-style documentary about Midway Games, the company behind Mortal Kombat, NBA Jam, and other over-the-top arcade classics. Good for background viewing, but not if you’re looking for something with a perspective or a message beyond “remember these games?”

A guy in this thinks he’s being charming by saying he used probably illegal clauses in contracts and an army of lawyers to coerce staff into turning down better offer from competitors. So many people think they’re clever when they’re actually just cruel.

Amelie (2001)

(Post-Valentines Day screening at the Globe Cinema)

23 years ago I watched this at a beautiful local art house that has since been demolished and turned into a seemingly permanent development project that was recently used as a post-apocalyptic ruin in a major television series. As far as cinematic experiences in Calgary go, that was a foundational one for me—it was a joyful shared experience and a high that I’ve had a hard time matching over the years. It was such a perfect film for me at that time, its breathless pace, the whimsy and inventiveness, and just the allure of something foreign and different was catnip to my inexperienced self.

I knew I wouldn’t have the same reaction watching it now, even if it was in the local art house across the street from the shell of where I first watched it. But I was pleasantly surprised by how much of that joy it still holds. There are a lot more choices in it that I would second guess, and it doesn’t feel so entirely sui generis, but it’s still lovely, funny, generous, and warm, with a fantastic score and a relentless pace.

I do miss that initial viewing, though, and I really hope this city still has places that can give young movie fans an equivalent experience.

Drive-Away Dolls (2024)

Just the kind of pulpy, dark, throwaway fun I was looking for. It reminds me of the sort of post-Pulp Fiction gangster comedies that were ubiquitous in the late ’90s, which I guess now count as comforting, nostalgic viewing for me. I don’t think this means I have to rewatch The Way of the Gun and Go now, but I suppose I should consider it.

It doesn’t quite have the Coen rhythm to it, but it feels like Ethan had a lot of fun putting this together, which is good enough for me. I hadn’t intentionally tried to watch this and Macbeth in the same month, and I don’t want to overstate how much each film says about directors who have made such a wide range of movies, but it’s interesting for Joel to swing so heavy for prestige and Ethan for pulp. If that’s reflective of their usual dynamic, it’s easy to understand why they’d want to splut up for a bit, but they’re definitely better together.

I hope Curlie is ok.

Uzumaki (2000)

Another one I haven’t revisited in probably 22 years. My first viewing was very much in my “weird for weird’s sake” phase of movie-watching (which is essential, but also probably a bit insufferable), so I was worried this wouldn’t hold up at all. Especially given all the middling reviews on Letterboxd and my own increased awareness of the source material.

Seeing it with relatively fresh eyes, I’ll admit it’s not a masterpiece by any stretch, but it does have an atmosphere to it, along with imagery strong enough to stick with me for two decades. Most of the credit for that goes to Junji Ito, I’m sure, and memorable as it is, the imagery doesn’t hold a candle to his original artwork (surreal horror will always work better in more abstracted media). But viewed on its own, this is still a solid slice of weird cinematic horror—not scary, not even really creepy, but still capable of getting under the skin.

Side note: I watched a somewhat low-res version in YouTube, and I have to say, the digital decay sort of suits it? The way large chunks of the screen pop in and out of clarity based on the whims of the algorithm, it has this ever-shifting lack of reality that just works. That notion that a medium’s flaws are what you end up nostalgic for, strikes yet again.

Uncertainty vs Risk

A useful concept from Brian Klaas’ Fluke: risk is when the outcome is unknown but the factors determining it are predictable, like rolling a die. Uncertainty is when neither the outcome nor the factors are knowable, say predicting a country’s GDP ten years out. Probabilities are useful in assessing risk, but in matters of uncertainty, they lend an air of false confidence.

Related: Frequency-type probability and belief-type probability. How often a coin comes up heads is a frequency-type probability; the probability is a measure of the frequency of a heads toss and converges on a more accurate measure with more tosses. Who will win an election is a belief-type probability: I can say I’m 74% sure that a newly discovered painting is an authentic Picasso, but it either is or it isn’t. The probability doesn’t reflect an event that can be repeated, and its accuracy is contingent on all of the assumptions I used in making it.

Non-Fiction: David Runciman’s The Handover

Having listened to many hours of Runciman’s podcasts (formerly Talking Politics, now the also-excellent Past, Present, Future), it’s always a treat seeing how well his voice translates into his writing. He’s approachable, inquisitive, and authoritative in equal parts, all of which makes it much easier to follow him along his more tenuous tangents.

The Handover is a more thorough exploration of a thread he’s been pursuing since at least How Democracy Ends, namely the conception of states and corporations as “artificial agents,” essentially the decision-making equivalents of “artificial intelligence.” It’s a helpful framing for understanding just how much agency we’ve already handed off to non-human entities, and why it seemed like a good idea to essentially farm out many of our key responsibilities to institutions with no intelligence and no humanity. The issue, then, is whether AI will be a tool for humans, or a partner for our artificial agents that ultimately aligns against us—not in a paperclip machine sort of way or anything quite so dramatic, just in a way that further alienates human interests from how the world runs.

The most useful thing about the “artificial agent” framing is the reminder that there’s a big difference between “novel” and “unprecedented.” AI is new, but we’ve been handing off responsibility to “machines” for centuries, and Runciman reminds us that there’s always a historical context worth learning from.