For obvious reasons, I've had Moon on the mind all week. So I was trying to figure out what I should recommend this week that would thematically fit. Brian Eno's Apollo: Atmospheres and Soundtracks is incredible, and if you haven't listened to it, go do that now. But it also seemed a bit on the nose. Radiohead's A Moon Shaped Pool also came to mind. But it also felt a bit obvious. Then I remembered Kate NV's Room for the Moon, a record I had on repeat in 2020.

Russian artist Kate Shilonosova chases ideas across 11 tracks inspired by Russian and Japanese pop from the '70s and '80s, as well as children's movies. This obviously leads Room for …

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Los Thuthanaka basically came out of nowhere last year to capture Pitchfork's album of the year with their self-titled debut. Because it wasn't available on streaming, it largely flew under the radar. I honestly kind of forgot about it until Pitchfork gave it the number one spot in its year-end list. In retrospect, I'm not entirely sure how, though. Los Thuthanaka sounds like nothing else. It's joyous, jagged, and sounds like it's being blasted out of a broken Bluetooth speaker in your neighbor's backyard - it's glorious.

The follow-up EP Wak'a turns down the tempo and smooths some of the sharper edges. It uses the same sound palette of blo …

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Last week's recommendation, Sotomayor's Wabi Sabi, has a very particular vibe that you don't find in a lot of records. One of the few things it called to mind was 2022's Topical Dancer from Charlotte Adigery and Bolis Pupul, which I ended up revisiting this week a lot.

The two records don't seem particularly alike on the surface. But they're both rough around the edges smash-ups of electronic and organic elements packaged for dance-floor abandon. The way the sounds and rhythms click together feels very much of the same ilk.

There are, of course, differences. Significant ones. Adigery and Pupul draw more heavily from rock and early electron …

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Shout out to subscriber N_Gorski for today's pick. They popped into the comments on last week's recommendation to ask what I thought of the new Sotomayor record. Well, I hadn't actually heard it yet, but now I'm obsessed.

The group consists of siblings Raul and Paulina Sotomayor from Mexico City. Wabi Sabi is their first record since 2020's Origenes, and it is pure joy. You can look back through everything I've recommended over the last several months, and "fun" is not how you'd describe most of it. But that's what Wabi Sabi is - it's fun, chaotic, and dancey as hell.

I was only familiar with Sotomayor before this because of a short docume …

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The opening notes of "Kravitz," which kicks off Mabe Fratti's 2024 record Sentir Que No Sabes, are lodged in my brain permanently. It's not a showy album, by any means. But there's something about the buzzing of her cello, plucked as you might an upright bass. The way the notes ring out before coming to an abrupt stop, fuzz still hanging in the air, set against a simple kick and snare sat firmly in the pocket. There's something industrial about the way it all comes together, like a jazzy "Closer."

Then come Fratti's paranoid lyrics in Spanish about ears in the ceiling and someone listening through the walls, and the slightly atonal horn bl …

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I recently had the pleasure of interviewing Laurie Spiegel for the site. As preparation for the interview, I spent a lot of time over the last couple of weeks revisiting Spiegel's records, most notably The Expanding Universe, her 1980 masterpiece that blends synth experimentalism with early examples of what would eventually be called ambient music, and algorithmic composition techniques. It's a marvel that sounds both nostalgic and cutting-edge at the same time.

Tracks like "Patchwork" and "A Folk Study" dabble in the sort of bouncy arpeggios that beg comparisons to The Who's "Baba O'Riley," while "Old Wave" and "East River Dawn" conjure ea …

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Often, I focus on recommending older media that isn't currently getting a ton of attention. But this week, I can't stop listening to the new Mandy, Indiana album long enough to even think about anything else. It's early still, obviously, but URGH is my favorite release of 2026 so far. The band that I fell in love with on I've Seen a Way has found an entirely new gear.

Frontwoman Valentine Caulfield is even more uncompromising. Most of the lyrics are in French, but even if you don't know what she's saying, you can feel the contempt. On "Magazine" she's spitting in your face as she seethes:

Je viens pour toi

Alors vas-y cours

Je n'te …

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New York City got hit with a hell of a snowstorm last week. And, inevitably, when I'm watching the snow fall, wandering the oddly quiet streets after dark, people hiding inside and staying warm, I put on M83's sophomore record, Dead Cities, Red Seas & Lost Ghosts.

Before Nicolas Fromageau left the band and Anthony Gonzalez embraced traditional pop song structures, saxophone solos, and teen angst, M83 released two albums of mostly instrumental music. The self-titled debut album is kind of forgettable, but the second one finds the French duo taking inspiration from the repetitive bombast of Mogwai and Godspeed You! Black Emperor. Dead Cities …

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Billy Woods has one of the highest batting averages in the game. Between his solo records like Hiding Places and Maps, and his collaborative albums with Elucid as Armand Hammer, the man has multiple stone-cold classics under his belt. And, while no one would ever claim that Woods' albums were light-hearted fare (these are not party records), Golliwog represents his darkest to date.

This is not your typical horrorcore record. Others, like Geto Boys, Gravediggaz, and Insane Clown Posse, reach for slasher aesthetics and shock tactics. But what Billy Woods has crafted is more A24 than Blumhouse.

Sure, the first track is called "Jumpscare," an …

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My introduction to Sudan Archives was the song "Nont for Sale" from her first EP Sink in 2018. I've been a diehard fan ever since. With each album, she finds new ways to sculpt the sound of her violin, contorting it in defiance of expectations.

Athena found her in conversation with it, leaving its timbre largely recognizable and organic, veering from experimental pop to more ambient passages. Natural Brown Prom Queen embraced the aesthetics of sound collage, samples, and modern R&B, blending her violin with more expressly electronic elements. The BPM has identifiable violin passages, but it fully embraces the more technological elements of …

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