Gregg Kowalsky presents an ambient antidote to modern life on L'Orange L'Orange

Gregg Kowalsky presents an ambient antidote to modern life on L'Orange L'Orange

The seven tracks on L’Orange L’Orange are anything but human sounding. They take their cues from places where the dramatic mind can’t go. Need to take the edge off at the end of your day? Gregg Kowalsky is a fine replacement for a tumbler of bourbon.

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Rhythm, Melody, and Dissonance: Trevor Babb’s Guitar

Rhythm, Melody, and Dissonance: Trevor Babb’s Guitar

Close your eyes, turn out the lights, and listen to Trevor Babb’s “Septet.” Put enough research and complexity behind your music, and you can still appeal to the brain which often seeks only that which is immediately rewarding. Trevor Babb encompasses the best of both worlds, where the music is pleasant to the ears while remaining stimulating to the thinking mind. The universe Babb creates sucks you in, and you’ll have no problem staying with him until Warmth has said all it needs to say.

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Esmerine are impossibly heavy and pretty as they cast 2017 in a dramatic post-rock haze on Mechanics of Dominion

Esmerine are impossibly heavy and pretty as they cast 2017 in a dramatic post-rock haze on Mechanics of Dominion

No matter how mathematically and compositionally sound the record is, it’s still impossibly heavy and pretty, casting its drama in a thick haze of intermittent drums, neo-classical geekdom, and various other idioms of post rock. Mechanics of Dominion is too heady for its own good, but still holds ground as a wonderful combination of influences and post-genre style. It takes time for it to reveal itself, and it’s usually worth the investment.

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Bodylessness and History as Told through Genres: A Conversation with M Lamar

Bodylessness and History as Told through Genres: A Conversation with M Lamar

“Genre-defying” and “experimental” are words that music critics enjoy tossing around, especially when it comes to genre-mixing. However, most genre-mixing is old news, and the terms only gesture at describing a diverse arrangement. Every once in awhile, though, someone earns the terms. M. Lamar’s records are shining examples that successfully blend opera, doom metal, classical, and electronic music, usually within the course of one song. Sound confusing? Give him a listen and you’ll see what I mean. Until the day where Lamar’s work gets a specific genre tag, we’ll be scratching our heads trying to explain it, and reveling in its abstract wonder.

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