Muzak for the Encouragement of Unproductivity by Jasmine Guffond is a unique revival and subversion of the commercial soundscape. Guffond's grounded approach to Muzak induces a state of alert relaxation, centering a message of conscious consumption that is needed now more than ever. These longform arrangements still the listener's inner atmosphere, melodious reed and brass instruments slowly mingling in reverb-soaked harmony. 

On the free jazz extravaganza Sun by Zoh Amba, joy manifests as a journey, as a path of inner discovery that passes through many finite moods and energies on its march towards transcendent knowledge.

However, an experimental edge built on dark folk harmonies and freely associated lyrics pulls the record back from its more straightforward tendencies, introducing the darkness from which our speaker longs for escape.

The seemingly random and uncontrolled phenomena we witness in our political, economic, and cultural environments mirror the eerie tones of Unfall by Dan Kinzelman, a jazz ensemble record haunted by the uneven repetition of tape loops.

Adding to the rich garage rock tradition of New York City with their unique blend of jazz, hip hop, soft rock, and punk, the new self-titled LP from Cab Ellis sounds simultaneously accessible and personal, unique and familiar.

Though this graceful, awe-inspiring journey never fully falters, moments of palpable tension introduce realistic negativity to this otherwise euphoric experience.

Cycling rapidly between each of these stems, Magiasale chases us through this horrific funhouse, sending us breathlessly stampeding through miniscule scenes of deeply unsettling sound.

While still appealing to the increased noisy abstraction of shoegaze-tinged indie rock, Wiring ushers in a new era of math rock on Like a Porcelain Lamb, one less interested in twinkly jazz chords and more focused on an abrasive, angular tone.

British emo noise rockers UNIVERSITY travel this dark road on McCartney, It’ll Be OK, writhing in the agony of utmost self-loathing through screamed vocals, distorted guitars, and frenzied riffs.

The new album Porcelain Shield, Paper Sword by Mary Sue and the Clementi Sound Appreciation Club takes this desire seriously, even agreeing that ancient traditions still hold immense unrecognized value, but the band’s heterodox approach extends far beyond what any hardcore traditionalist would permit.

A Room with a Door That Closes by Maiya Blaney reclaims otherwise excess negativity through an impressive variety of aesthetic avenues, appealing to every stage of our confrontation with unmet expectations.

Emerging from this dull void, our eyes melt under the radiant light of tragic euphoria, a complicated mix of guilt, relief, and hope that narrates the post rock adventure of Polvorosa by Gloios.

Experimental rock legends Ramleh observe the same gruesome transformation in their follow man on their new record Hyper Vigilance, a genre-defying testament to misanthropy and its origins deep within ourselves.

Playing his new record The Outlaw in full, it’s immediately obvious that these aren’t watered-down Nashville pop country songs. Drawing inspiration from the true foundations of country music, each track embodies a traditional Americana sound approached with punk sensibility.

Those final moments before this decisive point motivate the experimental electronica of So Afraid to Show I Care by Theo Alexander and QOW, a reflection of the naive beauty of the earliest, shallowest days of love as the first great test of loyalty looms overhead.

This combination of Afropessimist thought with the aesthetics of noise music appears on Black Noise by Quinton Barnes, an outstanding piece of experimental hip hop which unites a delightfully unhinged, wildly creative live band with an insightful lyricist.

Astoundingly, Swans goes out on an overwhelmingly positive tone, leaving us to wonder what the hell happened. Is Michael Gira relieved as his tumultuous life nears its end? Is the band ready to accept the world and all its evil? Or maybe the Swans mission has been completed, and the culture has finally caught up to Gira’s antisocial messaging from 40 years ago.

Virga by Eremocene grapples with Americana musical traditions in an era of complete cultural freefall, exposing the bleeding heart of this country through the mist of imminent desolation.

Heinali & Andriana-Yaroslava Saienko search for spiritual meaning through the pain on Гільдеґарда (Hildergard), a reworking of medieval chants into a modern context and modern aesthetic to resist the anti-human forces of evil.

An experimental electronic artist from Poland named Aśwattha sets out to bridge this empathetic gap on Spotkanie, letting us experience the serene and tragic life of the snake from the comfort of our headphones.