MusicFreaks

Tag: Instrumental Music

  • Enlist Y La Bamba North American Tour

    The harmonies between Switzerland and Ecuador have found a compelling voice in Hermanos Gutiérrez, a sibling duo set to embark on an exciting new journey into Latin Western instrumental music. They are preparing to launch their latest collection, Los Ojos Del Cóndor, set for release on September 25 via Easy Eye Sound, promising a rich tapestry of sound and melody.

    This fresh material is poised to be the backdrop for an ambitious string of North American tour dates this fall. The itinerary promises to be a delightful blend of intimate performances and major musical collaborations, ensuring that fans will have access to some truly special experiences.

    The tour schedule is packed with excitement, featuring renowned acts such as Y La Bamba supporting the Gutiérrez brothers on their headlining dates. Adding to the allure of the journey are special guest performances, including appearances alongside the celebrated Jack Johnson, making this tour a true cross-continental musical event.

    The adventure begins in Canada, kicking off on September 24 at Vancouver’s Queen Elizabeth Theatre. This initial stop sets the stage for a journey that spans the continent, moving through diverse landscapes and captivating audiences.

    The tour continues across the United States, with dates lined up in major cities like George, WA; Woodinville, WA; Portland, OR; Denver, CO; Phoenix, AZ; Los Angeles, CA; Austin, TX; Dallas, TX, and concluding in Houston, TX on October 21. These stops offer a chance to experience the unique sound of Los Ojos Del Cóndor in a variety of environments.

    The itinerary is a masterclass in musical travel, demonstrating how instrumental music can bridge cultural boundaries. Whether performing at historic venues or intimate halls, Hermanos Gutiérrez are bringing their unique blend of tradition and contemporary sound to audiences nationwide.

    For those eager to experience this musical expedition firsthand, tickets for the tour are currently on sale. Fans can check the full schedule and secure their seats through official channels.

    For further details on upcoming Canadian shows and tour information, it is recommended to visit Concert Central.

    Credit: Exclaim!

  • Play Time Play Hard

    Some bands form in garages and others emerge from deep underground scenes; Play Time, the Upstate New York trio, is clearly the latter, drawing inspiration from a rich tapestry of established musical worlds. While their sound may be new, the members bring an incredible wealth of experience, each steeped in distinct, fertile areas of music.

    Drummer Booker Stardrum anchors the rhythm section, having played with jazz jammers SML. Moog player Ben Vida has a history rooted in minimalist ambient groups like Town & Country and post-emo projects such as fountainhead Joan of Arc. Completing the trio is saxophonist Will Epstein, who has collaborated with artists like Nicolas Jaar and Dave Harrington and has worked as a film composer. This diverse background ensures that Play Time’s sonic output isn’t just novel—it’s deeply informed by ambient textures, experimentalism, and singer/songwriter introspection.

    With this unique collective experience, the band aimed to explore something entirely new for their debut album on the admirably esoteric Balmat label. The resulting work, Magical Object, is a masterclass in abstract yet grooving instrumental music that manages to feel both unfamiliar and deeply comfortable.

    The blueprint of Play Time’s sound lies in the interplay between elements from disparate genres. Tracks like Wanderers and Waves Within Waves perfectly illustrate their approach: a loping Moog bass line from Vida sets the mood, linked by Stardrum’s deceptively tricky percussion—often favoring dropping-coconut toms and dry-riverbed rattles over traditional snares. Overlapping melodic drones from Epstein provide an atmospheric backdrop that instantly conjures classic sonic reference points.

    The overall aesthetic immediately evokes the 1970s work of Terry Riley, particularly his collaborations with John Cale, as heard in the opener Open the Door, Joey, which features flowing, sedimentary melodies reminiscent of Riley’s “In C” but layered with a modern rhythm section. Meanwhile, the track Public Broadcast updates electronic rock pioneers like Silver Apples’ “Oscillations” for the streaming age, replacing older vocal styles with streamlined, pungent saxophone runs.

    The group found its collaborative voice during sessions held at Tubby’s in Kingston, New York. This venue has become an unofficial national headquarters for a heady, eccentric, and easygoing scene that seamlessly blends jazz technique, electronic tools, and jam-band methods. The music of Play Time successfully navigates this fertile zone, offering a sound that is avant-garde without being atonal, adventurous yet accessible, and instantly recognizable without ever becoming derivative. They land squarely in the comfortable territory of modal psychedelia.

    However, Play Time isn’t afraid to push boundaries. Occasionally, they venture into rougher terrain, demonstrating their ability to toy with dissonance. The title track features an intermittent cadence punctuated by hooting bursts, while songs like 22° Halo use phasing horn and synth lines to achieve an off-kilter, aching harmony. Even the frantic energy of Standing on One Foot proves they can swing with tension, showing that while they have found their groove, they are still actively putting in the work.

    Credit: Spin

  • 13 New Songs Out Today

    The world of music is constantly churning out fresh sounds, collaborations, and deeply personal narratives. From celebrated legends revisiting old grooves to emerging artists forging entirely new sonic territories, the current landscape is a vibrant tapestry of creativity. This week’s musical highlights reveal an appetite for introspection, raw energy, and beautifully executed cross-genre experiments.

    A prime example of this deep dive into musical reflection comes from Bryan Adams, who has released 51st State, a new track that playfully nudges the conversation about national identity. With the sentiment that Canada is truly home, the song acts as a lighthearted tribute, reminding us that what binds us is far more important than any division.

    In the realm of intimate collaboration, Jon Hopkins and Imogen Heap joined forces on their first track, Reckoning. The genesis of this piece was organic, born from an interview on BBC 6 Music where they wondered aloud how they might have created a song together. The resulting track is a stunning blend of shared creative vision, illustrating how personal moments can magically translate into compelling music.

    Across different genres, artists are pushing boundaries with their debut and follow-up projects. Manchester band Westside Cowboy has released their debut album, It Goes On, previewing the raw power of tracks like Pin Up Boys. This song, crafted with acoustic guitar, drum machine samples, and screwdrivers as makeshift sticks, is a testament to finding unexpected grit in musical arrangement.

    Meanwhile, established figures continue to evolve. Peter Gabriel continues his practice of releasing new material monthly, and for the strawberry moon, he offered us I Belong to the Sky. He reflects on the joy of letting instrumental grooves breathe, emphasizing that the most fulfilling musical moments occur when musicians are completely lost in the pocket of the groove.

    The fusion of sound is evident in projects like Tycho and Sea Lemon, whose collaboration AnotherWave showcased how lush textures and synth-driven sounds can flow seamlessly together. Scott Hansen noted how the mood of an Eraser track immediately clicked with his existing work, resulting in a track where ideas simply flowed rather than fighting for dominance.

    The spirit of counter-culture continues to inspire with acts like Gurriers, who are gearing up for their new album Nobody’s Coming to Save You. Their output taps into the shared fascination with film and conspiracy theories, offering a soundtrack that is both fun and thought-provoking.

    Other artists are exploring deeper emotional landscapes. Margaret Glaspy’s album I Am Both, produced by Joe Henry, offers another glimpse into complex songwriting. Similarly, Liim is building anticipation for his follow-up work, releasing the melodic track Is Loving Really Bad? to expand on his debut sound.

    In an instrumental vein, California band Allah-Lahs is set to release their sixth album, Sirenas. Their track Pt Conception provides a groovy experience that perfectly captures the relaxed, atmospheric quality of instrumental music.

    Even established acts are revisiting their history with fresh perspectives. The NYC outfit Fleshtones celebrated 50 years of Super Rock with a new single, Float Your Showboat, celebrating a dose of joyful, slightly snarky energy that reminds us to enjoy life and float along.

    The experimental side continues with Vini Reilly, who is set to release his first Durutti Column album in sixteen years. His track Scammer invites listeners to let the sound pull them along through space, offering a journey into a fascinating sonic environment.

    London trio Vanishing Twin also recently offered new material with their fifth album, Archives, bringing their unique perspective to the forefront of the music scene. Whether it is personal reflection, collaborative magic, or raw, energetic rock, this wave of music proves that there is always something exciting and deeply meaningful waiting to be heard.

    Credit: BrooklynVegan

  • Stick Men Revisit King Crimson’s ‘THRAK’ Era

    More than three decades after King Crimson’s THRAK helped ignite a new wave of progressive rock, two of the musicians who defined that groundbreaking album are back, ready to dive headfirst into its DNA. The legendary trio Stick Men—featuring veterans Tony Levin and Pat Mastelotto alongside composer and multi-instrumentalist Markus Reuter—is preparing to release their first new work in over ten years, Let’s THRAK Again, on September 4.

    Let’s THRAK Again is not merely a retrospective; it’s a profound reimagining of the sonic philosophy that fueled one of the band’s heaviest and most adventurous periods. It stands as a Robert Fripp-approved homage to the masterpiece of 1995, moving beyond simple covers into a deep exploration of textural chaos and controlled brilliance.

    The project is structured as two distinct listening experiences: “Reel One,” mixed by Stefano Castagna, and “Reel Two,” masterfully produced by bassist Fabio Trentini. These dual mixes offer contrasting sonic perspectives and alternate track sequences, allowing listeners to engage with the music’s architecture rather than just its surface notes.

    The band explains that they didn’t just write twelve new compositions; they designed an entirely new sonic vocabulary for them. This obsessive attention to detail is perfectly suited to the source material, paying tribute to the heavy, mechanical impact of the original THRAK era while pushing boundaries into stranger and heavier realms.

    The personnel driving this monumental effort alone read like a dream lineup for any prog rock devotee. Tony Levin, whose career spans giants like Peter Gabriel and Pink Floyd, remains among the most influential bassists of the modern age. Pat Mastelotto helped usher King Crimson into its industrial-leaning late-’90s phase with his pioneering hybrid acoustic-electronic percussion approach. Completing the trio is Markus Reuter, who has spent years developing his singular language on the self-designed eight-string Touch Guitar, acting as both composer and sonic architect for the group.

    The result is a deeply immersive journey that rewards listeners who seek to understand the underlying structure of sound. For those who appreciate musical complexity built on raw energy, Let’s THRAK Again offers an experience that is as intellectually stimulating as it is sonically explosive.

    Credit: Spin

  • Croz Boyce (Animal Collective’s Avey Tare & Geologist) announce US tour

    The indie music landscape is buzzing with the arrival of Croz Boyce, an instrumental project that draws from the lineage of the celebrated Animal Collective. Featuring talents like Dave Portner, known as Avey Tare, and Brian Weitz, known as Geologist, the trio has launched a compelling new musical force with their self-titled debut album.

    Following the release of their debut record in May, the excitement quickly spilled over into live performance. Croz Boyce is now embarking on an ambitious tour schedule designed to bring this unique instrumental sound to audiences across the country.

    The journey promises a unique experience for fans, culminating in a major stop in Brooklyn where the tour will conclude on September 29 at Public Records.

    Fans eager to catch this show can mark their calendars for a series of dates spanning September. The tour takes them through iconic music cities, offering an eclectic mix of venues and experiences:

    The schedule features performances in major hubs including Asheville, NC; Atlanta, GA; New Orleans, LA; Austin, TX; San Francisco, CA; Portland, OR; Seattle, WA; Minneapolis, MN; Milwaukee, WI; Chicago, IL; Cincinnati, OH; Washington D.C.; and finally, the grand finale in New York, NY.

    Specific dates include September 8 in Asheville, September 9 in Atlanta, September 11 in New Orleans, September 12 in Austin, September 15 in Pasadena, September 16 in San Francisco, September 18 in Portland, September 19 in Seattle, September 22 in Minneapolis, September 23 in Milwaukee, September 25 in Chicago, September 26 in Cincinnati, September 28 in Washington D.C., and the final stop on September 29 at Public Records in Brooklyn.

    Credit: BrooklynVegan