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Music

We often label new music "out-of-time" when its touchstones are from the past. But what does that time mean when it spans decades and cultures, swirled into nonlinear pop songs that glide the spaceways?

Note: NPR's First Listen audio comes down after the album is released. However, you can still listen with the Spotify or Apple Music playlist at the bottom of the page

Gabriel Garzón-Montano's latest record, Jardín, is liquid-smooth, intricate and organic. It's the sum of Garzón-Montano's many influences: the slick pop of New York City, the cumbia flair of his Colombian dad and even hanging out with famed minimalist composer Philip Glass when he was 5 years old:

So I took last Friday off to clean out my garage and ended up using the time to listen to the new Kendrick record, DAMN. over and over again. It was a glorious, uninterrupted stretch of several hours, but even that wasn't enough to really understand everything he covers on it. DAMN. is dense, packed with religious imagery, deep thoughts on race, fame and identity, and a whole lot of personal stories and memories. Those are some initial observations.

There is regular brains rock music and there is broken brains rock music. No slight against the former, but sometimes squares gotta be oblonged and thought patterns obliterated. Mark Feehan and Kilynn Lunsford both made a regular habit of scrambling brains with Harry Pussy and Little Claw, respectively, but with their new Philly-based band, they rock the body manic.

I am usually one to avoid bands with jokey names, but Cende snuck in with pretty, emo-tinged power pop before I could roll my eyes.

Katie Crutchfield has been nothing but honest as Waxahatchee. Her careful words carry keen insight — and she writes sharp songs to match. Waxahatchee's fourth album, Out In The Storm, takes a hard look not just at broken relationship, but also at the spiraling aftermath.

earthsongs.net

  Andrew Morrison and Nancy Mike of The Jerry Cans represent Nunavut culture with their album Inuusiq/Life. Nancy is Inuk from Pangnirtung in Nunavut. Andrew learned to speak Inuktitut as required by Nancy’s father when Andrew asked for her hand in marriage. His bilingual vocals are joined by Nancy’s throat singing along with instruments of Scottish and Scandinavian heritage like the accordion and fiddle. These influences give The Jerry Cans’ sound a unique blend of Inuktitut alt-country, throat singing, and reggae.

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